,i:i.

.,
.
Enhanci
e Self
YOUR JOURNEY
You, like others, have important roles to play that make you interested in
shaping yourself to become a healthy and developedyoung adult. Learning how
to recognize and to perform your roles effectively is a good indicator that you're
a responsible individual using even your past experiences to make a difference
in your life. This can enhance your understanding of the world. Somehow you
have to continue finding out
just
what it is that fits you. So whatever it is that
you do of significance, willingly and graciously, you have to prove to yourself
and to others that you can excel. Tryyourbest. Concentrate on ways to perform
well. You'll surely feel better if you do.
In this lesson, you will find a poem, an informative article, and tasks/actMties
that will build your understanding of the value of recognizing and performing
ioles in life, at the same time, develop your listening, speaking, reading,
writing, viewing, grammar and literary skills. Hopefully, these can be demon-
strated through a Community Services Brochure.
YOUR OBJECTIVES
Charting the course of your journey
in this lesson, you are expected to:
share prior knowledge about the topic
process information mentioned in the text you have heard
perform tasks by following instructions
infer thoughts, feelings, and intentions in the material to view
provide words or expressions appropriate for a given situation
analyse literature as a means of discovering the self
point out the distinguishing features of a poem
determine the features of informative writing
use the appropriate stress in delivering lines of poetry and prose
use capitalization and punctuations correctly
present a well-prepared Community Services Brochure
2
GYouR
tNt,ALrAsKs
TAsK r Three-minute Letter Search Riddle Game
.
Read each statement closely, and search for the missing letter as suggested
by each statement.
1. I am the first letter of right.
z. You'll find me in boar but not in bear.
3.
I'm in the middle of ceiling.
4.
You'll find me in ore but not in our.
S.
I havethe sound ofsea.
.
Put the letters together t-o come up with the answer to this riddle. What is it
in life that I have to perform?
nnrnn
/
.
The first one to give the coriect answer wins.
TA$K 2 AII for the Best
You most probably have the best plans for your life at home, in school, in your
career and family because you have roles to perform. What could these roles be?
.
Form small groups of five and take turns in answering these questions.
1. What kind of role in life
a. interests you most?
b. helps put you in a happy mood?
c. you prefer/enjoy doing? you like best?
2. What are your talents or things you can do well?
Give the reasons for your choices.
T
n
n
n
l
n
l
n
u
u
.
Make a list of all of them in the following table.
a
a
a
Share and compare your lists with other groups.
Add items from others'lists to yours.
Keep your list for future use.
TASK 3 lnspirations
You admire people primarilybecause of the roles they perform in making a dif-
ference not only in their lives, but also in others'lives. They inspire you because
they have achieved something special in the field that also interests you.
Pair up and reflect on these questions:
i[ho
do you consider as,a person who inspires you because he/she is very
effective in performing his/her role in life?
What do you think are his/her qualities that lead him
lher
to become
successful in performing his/her role in life?
.
Recall the name of the person (you
know personally or through reading or
through watching a movie) who has been successful i.n performing an im-
portant role in his/her life.
.
List the qualities of this person that you and others share.
l
Role in Life that..
Reasons
lnterests
me most
I prefer
or enjoy
doing
I like best
,t-
. r .rl
Puts me in
a happy
mood
Talents/
Things I
can do
well
rit
, r.i'! "
.
Share your list with your classmates.
TnSK
l*
Effective? Partially... lneffective?
.
Interview at least five classmatqs and find out howthey perform their roles
in life.
'-.
.
Note their responses.
:i
.
Copy the chart shown below and plot it with the entries called for.
Ways to Perform Life Roles
lneffective Partially Effective Effective
.
Share your findings with the class.
TIISK 5 Looking Back
Obviously, you are aware that life is a continuous
journey.
Your present plans
havesomething to do urith yoqr past experiences and your plans for the future.
Why don't you
.
lookback at the roles you played before and zero in on the most important
one for you.
.
think of how it differs from the role you are playrng now.
.
plot the roles you played before, what roles you are playrng now, and what
you hope to play in the future.
.
specify how you feel about it and how you fare in performing it.
Role in Life that 1...
o
Reasons
Played
before
How lfelt
about it
Am play-
ing now
How Ifeel
about it
Hope/wish
to play in
the future
Look back at the ideas you listed in AII for ttre Best phase. Find out which
of them you'll change or add to the ones in the chart.
Share and compare your ideas \ rith a partner.
Report back to the class.
a
a
TASK 6 Focus
Questions
Hopefully, through your understanding of the overriding and underlying con-
cepts plus the tasks/activities you've bden engaged in in this lesson you'll surely
be able to answer the FOCUS (BIG)
Questions:
Remember these questions as you work on the phases of this lesson.
.
List logical temporary answers to the focus questions. Answering them will
surely help you make a difference in your life. Copy the chart shown below
and fill it out with your responses.
Tru5K z What Do I Expect/Need/Hope to Learn?.
.
Write what you expect/need/hope to learn in this lesson.
5
t
As you'explore
this lesson, you
can add/answer the questions
and conqlder
how the tasks will not oqly.hefp you understand the language anflliterary
co4cepts,butalsohelp.you,shpefou1Jifg.
; ,
,.,.
1 r-: :
'
'
Be reminded of these expectatiorr.:u" you work on the following phases
of this
lesson
*,i-
'
:
' n;l'1
t:'
"
$1"ri';,
t t
gYouRrExr
This phase will crystallize your knowledge and understanding of your target
concepts and skills through deeper exploration of the poem in iocus.
Doubtlessly, youknowthat
appreciating apoem islike appreciating a picture,
photo, illustration, or drawing.'
/
T:ASK I Ten-minute lmage Talk
f
Although it is never,stated, you as a readep/viewer can infer thoughts, feelings,
and intentionbased onthe
details of information presentedinthephoto/picture
or dr4wing. You can focus on the lines, angles, .olorr, or even on th. sirapes of
the objects/images presented
and relate them to real-life experiences foryou to
understand their mebsage/meaning. :
-
.
Pair up and look closely at the drawing.
(
7
.
Talk about/discuss what it comrrtunicates to you.
.
Use the following guide questions.
r' What do you think the drawing wantslintends you to believe?
r' Does it suggest/answer the question: What roles can I perforrn that
u:illrna.ke a difference inmy life?
y'
How closely do you think/believe the drawing matches your mental image
of recognizing and per{orming roles in life? Prove your point.
r' What details of the drawing tell you about recognizing and performing
roles in life?
r' How well do you think/believe the drawing/illustration fits the value of
. recognizing and performing roles in life?
r' How does the picture make you feel about recognizing and performing
roles in life?
.
After ro minutes, convene and share your responses.
.
Find common grounds about your ideas.
TAsK I For Significant Human Experiences
Reading a poem paves the wayto making meaning in life. It allows you to share
certain experiences. Oftentimes,
you find you share something more in com-
mon with the poem's content than you originallythought; this makes the poem
meaningful.
Now, find
,out
how the poem The Seuen Ages of Man from the comedy As
You Like Itby William Shakespeare provides cherished pieces of information
o
about the human condition.
.
Listen to your teacher read the poem
.
As you listen to your teacher read the poem, read it silently and watch out for
words which are difficult for you to understand. List them in your vocabulary
notebook and have them as entries in your word bank.
I
THE SEVEN AGES OF MAN
(from:
As You Like tt) by William Shakespeare
151
fifpfug,wo,,rld'sastage,,';
ffi'all
the,men and womeniare merelSr pla5rers;'
They have
rtheir exits and entrances,
fud one man,in his time plays many parts
Hislacts being seven ages. At first the infant,
Mewling and puking in the nurse's arms;
And then the whining school boy, with his satchel
m* sni"ing morning face, creeping like snail
Unwillingly to school. And then ih* loru.,
Sighing like furnace, with a woeful ballad
nlaAeto tlis mistress'eyebrow. Then a soldier
Fu-ll o{strange oaths, and bearded like a pard,
Jealous in honor, sudden and quick in quarrel,
See-kin gr the bubble reputation
Even in the cannon's mouth. And then the
justice,
In fair round belly with good caper lined,
.With
eyes severe and beard of formal cut,
Full,of lt/hite saws and modern instances;
$
so he,plays his part. The sixth age shifts
Lnto, the,lean and slippered
pantaloons,
W,,ith spectacles on nose and pouch
on side;
His'youthful hose well saved, a world too wide
For$ shr-unk,shank; and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound. Last scene of all,
That ends this strange eventful history,
,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
Poetry is a personal tlpe of writing
where words flow and carry you along
the realms of beautiful thought. What really contribute to the poem's meaning?
Doubtlessly, you knowthat the orchestration of sounds, story, sense, and form
brings about "life" in a poem you read. That absolutely drives you to "feel" life in it.
Some poems are full of words that are fun to say aloud. You can express
the meaning of the words by reading them aloud and you can use your voice to
express their meaning.
.
In small groups of five, read aloud the poem The Seuen Ages of Man from
the comedyAs You Like /t by William Shakespeare.
.
Decide who will be the first, second., third, fourth, and fifth read.ers.
.
Try to make the meaning of the words come alive through using good ex-
pressions.
.
Remember to produce the correct critical consonant sounds in words like:
in
ls/-
s, z, sh, or zh.
.8., sooth -/s/ zoo -lz/ shoe -lsh/ st:re -/zhl
.
Watch out for words in the poem that have the same sounds.
.
Also thinkback on the importance of using appropriate stress to words you'll
read to convey meaning.
e.8., SEuen PLAYers MEWIing IN/cnt PANtaloons
'
Ages sPECfacles obLluion
.
Remember that the parts in'capital letters receive the primary stress
/'/.
Stress the words properly
.
Read the poem aloud again. Use the appropriate stress and produce the
comect sounds of the letters that make up the words.
TRsK {o Small Group Differentiated Works
(SGDW)
Form eight
(8)
small groups and perform your assigned tasks.
Group 1, Looking for rhymes
Remember that rhyme is part of
.ryhat
we mean when we say poetry is musical.
When the ending sounds of words are repeated, we call it rhyme. Rhyming words
do not appear only at the end of the ljnes (end
rhyme) in poems, but they may
appear within the line
(internal
rhynrf6).
e.9., 'l think that I shall never see
A poem as lovely as a tree."
I
see-tree]
-
end rhyme
"the crows in boirghs throws endless brawls"
-
internal rhyme
10
Some poems rhyme; others don't. But one thing is sure; each poem
captures .
-moments
in time, feeling, thoughts; and experieuces. Though ihis poem
is a
sample of blank verse
tpoetry--witir * ooihy*"alurrrui" p'.i*J,.;
lir-J
that.w4s widelvuled liyshakespeare, it contains internal rhrlre
? 'Read the poem once more and spot the words that rhyme.
'
Make a list of these rhyming words and determine which are examples
'
Copythe table as shown below, and fill it out with the appropriate entries.
End Rhyme
lnternal Rhyme
.
'Share
your findings with the other groups.
. ..,1 . \.
t
,
Group 2. The best clue
Tn-e poet uses words that suggest sounds at the same time describe actions be-
ing made. Onomatolrceia is a sound device used by poets to suggest actions,
movements, and,meanings,
,
''r
:
.g., Ttre hissing ofrthe'snake rnade me shoo it a*ay.
'
Read the poem aloud'bnee more, and watch out for words that suggst
.sounds
of movements, actions, and meaning.
l
:
.
Find eiarnples of onomatopdLia,in the poem.
,
Picture each word p your
mindand try to bring _epch imqge in clear focus.
.
Use the following
Auestio{ir1o
guldg ypr.
r/ What does it look like?
,.
,
t/ How does it move?
11
rl
"
List themin the table shown below.
-
Sample linel
words
It looks likd
: Thg sorutd it '
makes
How lt moveg
.
Share your findings withthe other groups. .
,,;
'
n-^ ani faiaaa
Group & Alliteration, As$onance, and Consonance
(A2
& C).
Gther interesting features of a poem that tnake it musical is the pyesence of
sound devices like alliteration, assonance, and consonanqe
Alliteration is the repetition of consonant sounds at the beginning of the words
likel
-
doubting, drearing dreams no mortal
Assqnance is the repetition of vowel soundsrwithinwordsq
I
,
relipqtickdtabs, {
i
I
'
,
e.g. alongthg
ryindow
srll" tI
glittered in theirsteel shells.
...-RitaDove,from,Adolesca,17{o'.li
s the repetition of consonant sounds withig and at the end of
the words.
i
e.g. Somelate visitor entreating entrance at
my chamber door
'
I
,' -EJi"
Poe, from The Rauen
i
'
.
Read the poem'again and look outfor words or Iines that sound like they
'
are examples of allitefation, assonance, arid consonance."
-
12
t
.
List all of them and chart
Srem
on the space provided below.
From fhe Se,ven Ages of Manby William Shakespeare
Assonance Consonance
.
Share your findings with the othdr.groups.
firrough the words used by the poet, as expressed b5r the'persona"/speaker, the
vivid images, clear sounds, and exact feelings are clearly conveyed. fire descrip-
:
n9a{
lne
poem srlently and think of the images the words cqeated in your
mind.'
:
. 'i I
:
Picture them in your mind anfl try to bring them in
9leal
focrrs,
.
List these word.s that create clear pictures iir your mind.
.,
Sh4te the feeling each image evokes.
.
Point out the real-life experience or observation in life that eactr image
.
Copy the chart shown below and fill it out with the entries called for.
lmagery in fhe Seven Ages of Man
Words/lines lmages Cr,gp$e{', I.eelings Euokcd Meaningful
Experience
ro$ t't
;!, !
t.t ,,
^
Share your findings r4,ith the other gioups.
13
.
One way to enrieh your rroeabulaiy is to build a Woid Bank. A Word Bank is a
cdllection sf words you can use to convey meaning clearly and effectively. Often-
times, entries in a word bank are encountered and learned through redding a text.
Read the poem silenttry and lgok out for words in the poem that fit each
description below.
1. a lyric poem that tells a story
2, a fat chicken
3.
cryrn8
4.
promises or pledges to accomplish
S.
dlsptay uncsnsciousness gr nothingness
6. throwing up or vomiting du9 to sickness
T.
aschoolbag
8. refers to stem orbranch
9.
produces a high sharp'sound
ro. unhappy or sorrowfirl sound
.
'
Check if these words you have unlocked'are also found in your list of
loaded/heary words you made earlier,
.
Add those words whlch are unlocked to your Word Bank.
.
Copy the Ctrart:!o*" below, and fill it out with your loadedlheavy/dif-
ficult words and their meaniirgs.
Nartheavylloaded
word
Mqaning Sentence
Share your findings wthlpe
o,!&r
groxps.
1'4
15
P,"'.
*
.
t4.Do you thinkthe persona has a greatunderstanding of the universal ex-
,
periegce pf
naB
perfopins a roJe,il each stage? Explain.
6;,Whichlines"describe
the roles in life:tbat man performs?
10.'Under what circumstances may,it be better tg be young rather than be
.
rioldof,iiceversainperformingiolesintife? .'
'
'' .';
17. How does the poem make you feel aboirt the importanoe of recognizing
and perfor-ming a role in life effectively?
,' -
rSrWhyris it acceptable/better to recognize and perform your role in hfe?
19. How does the poem make you think of the importance of recognizing and
.
performing a role in life effectively?
zb.What are the advantages and disadvantages of not recognizing and per-
forming your roles in life?
2L.What would be the most effective way of perforrning your role in life?
'
.
Share your responses with the other groups.
Gtoup 8. Conn6ctttoilifer'
,
'
i
,,/
,,,
(.
Whiel part makes/drives yot to think of sorneone/somgthing in real
life?
,
,
:
r' What kind of roles in life are bonveyed in the poem?
r'
'l'.,t,'i.:.'r. i .
.'
: I . :
What line(s) suggest how- one can be effective in performing one's
role?
I'' 'o'i
r' l.stlre message of the poem worthwhile? Prove your point.
r' How impofant is the poem's:rrlss&Se in yorrr li,fe?
.
Share your responses with the other groups.
' :" :
'
TIASK {{ On Using
A
rl.
Read the poem oRce
lnore
to answ,er these questions. ,',
(
Doyou agree with the persona's description of the last age of man in
the last two lines of the poem? Why?
r' Do you agree
when he'says that the last stage is "second childhood
without everything?" Prove your point,
I
,,li{
Apprgpriate to Situatloqs
..\ +
t,l '. 9V,I
15
e.g. Consider your possible responses to the aforementioned guide ques-
tions.
Of course, I agree with the persona's
description of the last age of
man.
No, seriously, I believe otherwise
r' Which words express agreement? Disagreement?
r' Can you give other examples of agreement? disagreement?
Read these sample mini dialogues aloud and spot the presence of words/expressions
indicating agreement or disagreement.
Angelo: You're the only person who knows what really happened.
Malee: That's not quite true. Sam was there, too.
May: H"y, that's right. I remember he solved the problem for us.
Joe: That's good to know. We'll give him a call.
Erick We can play the game now.
Andrei: Okay, but I'm not good at it;
.
Bam: That's what they say!
Rom: No, seriously. I haven't played very well at all.
Connie: Do come. Can you stay for lunch?
Vangie: I'm afraid not. We have to go somewhere .
Rina: But you have time for coffee, d.on't you?
Tess: That would be nice.
Milette: There's something I have to tell you.
Mila: Can't it wait?
Milette: Not really. It's pretty important.
1.
,
3.
4.
5.
6.
7.
17
Lucille: Should I forget it all?
Annie: No,
just
listen carefully.
Sonny: Okay, I guess I'm ready.
Leif: Good. Now, concentrate.
B. Positive Roles
.
Reread the poem The Seuen Ages of Man and pair up.
.
Find lines that suggest man has to perform roles in life.
.
Specifu which lines clearly point out positive sign of performing roles in life.
Talk about which of them you agree or disagree with. Explain.
.
Use words/expressions indicating your purpose.
.
Share your ideas with the class.
Trtsx {2 On Using Capitalization and Punctuation Marks
When you read poems, you don't pause or stop at the end of the lines, but you
watch out for commas or periods to guide you. Use punctuation marks to help
you find the sensible meaning of what you're reading. Clarity of expressions in
poetry or prose composition exists if the sentences are appropriately punctuated
and the words are properly capitalized.
A. Connect
.
Consider this sample informative article about punctuation.
8.
9.
t
)
I
t
*-,.--A^-
--------.ru-v-**----.,/...----...-.----.
--.^,/\-
\_r
*/---_------
,i-\---_ra_-..__--A---*_
TH EREADERSSHOULDTAKEB
REATH :
THE. ROMANS . MADE. WRITING. MUCH. EASIER.
TO . READ . BY. PUTTING . DOTS . BETWEEN. WORDS .
AND . BY. MOVING . THE . FIRST . LE]TER. OF. A.
PARAGRAPH . INTO . THE . LEFT . MARGIN: THEY.
ADAPTED . SOME. OF. THE. GREEK. MARKS. SUCH . AS .
THE . COLON . MARK. TO . INTDICATE . PHRASE . ENDINGS:
I NTTH E EA RLYM I D D LEAG E ST H I S SYSTEM O FP UNCTUATI ON
BROKEDOWNB
ECAUSEVERYFEWPEO
PLECOULDREAD
AND\ATRITE B UTWRITERS KEPTASPACEATTH
EENDOF
ASENTENCEANDCOI.[TINUEDTOMARKPARAGRAPHS
EVENTUALLY WORDS WERESEPARATED
AGAIN AND
NEW SENTENCES BEGAN WITH A LARGER LETTER
xHint:
Try reading
from
right to
W.
The educational reforms of Charlemagne led to the invention of lowercase letters
which couldbe written and read much faster. Phrases and sentence end.ings were
indicated either by ... or by a slash (/).
As time went on writers looked for more ways to clarify meaning/In medi-
eval music notation they found a way to indicate how a voice should rise or fall
at the end of a sentence or phrase.
Can you hear your voice rise at the end of
a question?
Our question mark came directly from medieval music notation.
When a long sentence broke in the middle > they put a new mark that became
our semi colon and colon. The hyphen appeared as two lines
1=)
iistead of one.
Around A.D. r5oo the indented paragraph
appeared, as did the comma and
period as we know them. Printers of the Renaissance invented new marks like the
exclamation points and quotation marks. By that time, people were commonly
reading silently, and punctuation
cameto depend more on grammatical groups
than breath groups. (Parentheses
and dashes appeared with the advent of printing.)
By the end of the seventeenth century, our punctuation
system was in place
for the most pert, though sometime$ details varied. Just think, though: After
only a few lessons in school-and with lots of practice reading and writing-you
can boast that you've mastered a system that took westerners many centuries
to develop.
19
.
Discuss your answers to the following questions
r' What have you obsenred as unusual in the informative article?
U What is it all about?
/ \dhat punctuation marks are described inthe article?
r' What problems in writing and reading are caused by improper use of
capitalization and punctuation marks?
r' Are these problems applicable even in today's world?
r' How do we solve such problems?
B. Sensible Role Plan
.
Imagine yourself two to four years from now. What kind of career/role
do you think you might have? Will the computer or new inventions be
part ofyourjob?
.
Research for facts about it.
.
Write a short informative composition highlighting your role and the
invention you will use as part of your
job.
.
Remember to observe correct capitalization and to use correct punctua-
tions.
Share your informative composition with the class.
Since you have several impressive ideas on recognizing and performing roles
in life, you have to keep in mind that it can inspire you to practice habits of
doing things well. You can always consider it as a,special gift for you to prove
your worth as a unique human being. Obviously, you are now ready to prove
your understanding of how this valued concepts can be realized through getting
involved in real-life tasks.
YOUR DISCOVERY TASKS
TASK 13 lnvolvement
.
Form small groups of six and discuss the answer to the question:
What can I do to perform my role effectively?
.
List the ways in which you have already contributed, are contributing,
and predict the ways in which you'll contribute to the world in the future.
.
Copy the chart as shown below and fill it out with entries called for.
The Contributions
I made I can make I will make
.
Share.your ideas with your classmates.
TAsK 14 Give me Eight
Fg* eight
(8)
small groups and choose one from the following tasks to work on.
Group ?. Yes, it's simple but it's too good
to miss
.
. Formatableau.
.
Position yourbodyto form a tableau that depicts a scene from the poem.
.
Find out if the other groups can identiirthe scene and each person's part
in it.
Group 2. Fan letter to a role rnodel
You look up to your parents, grandparents, teachers, relatives, o'r friends because
they inspire you to perform roles in life effectively"You regard
tlrem as good role
models who help you along the way.
.
Choose an inspirational person
and write a fan letter tohim/her.
.
Include a request for some meaningful obJect or symbol and for some tips
of their success.
.
Explain in your letter why you adrnire this person and why you consider
him/her as your role model.
.
Also mention how he/she helps you and why you want the object.
.
Rqad your letter to yotrr classmates.
21
Gyup 3. Personal heroes
We all have personal heroes or idols- people who represent everything we'd like
to be. They can be people whom we know like a classmate, player, coach, movie
star, musician, singer, politician, reporter, media man,leader, etc.
.
Brainstorm and make a list of people whom you admire because they
serve as positive influences on your generation.
.
Choose the famous or popular ones.
.
List objects you associate with each person.
'
Act out silently- pantomime - a famous role model and ask other groups
to guess who he/she is.
.
use one or two objects you can associate with each role model.
Groupa, tead'ing light
Some people are born winners. They perform well in any rble they have.They
shine in academics, contests, extra-curricular activities, and even in sports. In
real-world tasks, they do well. Maybe they were not born winners after all but
they've learned how to become winners. What could be the secrets of suc-
cess in performing their roles?
.
Choose your most remembered poet or persona in your favorite poem
.
and use him/her as your role model in life.
.
Think about/write about his/her outstanding trait/quality/attitude that
is worthy to follow/praise.
.
Remember to explain the secrets of his/her success in performing his/
her role.
.
Share your thoughts with the class.
Group 5. Poetic music video
.
Choose a song
(rap, pop, rock, ethnic, classical, country, religious, etc.)
that expr.rr., t o* one can value one's role in life.
.
Match it with your favorite poem.
.
Ifpossible, trywriting/adding newwords (expressingyourideas
onhow)
to go with the music.
.
Use the song as the musical background.
.
Assemble illustrations or props to accompanyyour recording.
'
.
If possible, videotape your presentation.
.
Try singing it to the class.
22
Gtoup 6. Dance duo
'
Recall as many songs as you can about the importance of playing
roles in
life.
'
Choose a music that you think conveys the feeling and the meaning of or
the one that represents the poem
,
The seuenAges of Man.
'
Sing it and use appropriate movements that suggest the meaning of the
poem.
'
Jnte{Pretyour
chosen lines from the poem through dance steps/movements.
.
Rehearse a performance
of the poem
and dance.
.
Present it to the class.
Group 7. Roles and concerns
.
with your groupmates,
discuss howyou'll squarely come up with any of
the following:
r' What recent world issues/problems
can be solved if people recognize
and perform
their roles effectively?
r' How are our lives different or similar to people who have been suc-
cessful?
.
Discuss a major change in your life.
.
Use the following guide questions:
r' What was difficult about playing
that role?
r' How did the situation improve?
r' How would you handle the role successfully?
'
Remember to share your responses/ideas
with other groups.
.
Set time for feedback.
Group 8. High/low points
The roles you perform in life drive you to experience high points and low points.
'
What are these high points and low points you experienced? Explain.
'
Make sure you share these points you experience as you perform your
role in your past and present life.
'
Post these high and low points in your FB or Twitter Wall or send them
to your friends through e-mail.
'
Invite them to give comments, suggestions, or reactions.
23
Y
You're doing great! How do
you Teel about it? Do you want to
add more
proof
of
your
understanding on the target concepts
and to hone your communication skills?
YOUR FINAL TASK
As evidence of your understanding and learning the target concepts and
enhancing the target skills, you have to tryyour hand on your major output for
this lesson- making a Community Services Brochure. The criteria for as-
sessment will be: Focus, Content, Organization, Supports, Visuals, Clarity, and
Language Mechanics. You will do this by groups.
.
Form five big groups and perform your assigned tasks.
Here are some ideas for the preparation and presentation of a Community
Senrices Brochure. Look them over before you plunge into it. Keep these
points in mind as you go through the process.
You probably know of clubs, organizations, centers, or even key persons of-
fering services in your barangay/community. Consider them as those who have
performed extraordinary roles in life.
.
Scout for and present sample brochures.
.
Bear in mind that a brochure like a letter, report, speech, review, instruc-
tion pamphlet, and any other form of informative writing presents factual
information and details.
.
Discuss the answer to the following questions:
r' What is the brochure all about?
r' What do you think is the purpose of this brochure?
r' Who do you think is the target audience of this brochure?
r' What are the information orbasic features contained in the brochure?
r' Is the information based on facts?
r' How is the basic information presented in the brochure?
r' Which of the following methods
(description, enumeration, compari-
son/contrast, or exemplification) were used in the presentation of the
information?
24
flb
r' What is the basic structure of a.brochure?
r' What makes the brochure.interesting?
r' What words capture your attention?
r' What help/support/advantages does the brochure offer?
Planning Stage
.
Conduct a meeting and plan for the preparation of the brochure wherb
the following points should be eovered.
. r/ Assign a specific role to each member. .g., a leader, researcher, il-
lustrator, compiler, layout artist, rarriter, interviewer, ed.itor, concept
artist, presenter.
r' Clarify the functions of each m'ember.
r' Clarify the main requirements for the brochure which are the topic,
purpose, and audience.
' y'
Identify the topic for the brochure
, Clarify the purpose of the brochure. Answer these questions: Why
. are we writing/composing this brochure? Who will be interested in
reading it? Who needs it?
t/ Identify the key persons, clubs, organizations, centers, and the services
.
that will be highlighted in the brochure.
Gattrering Inforrnation
:
.
[ook for the key persons, clubs, centers, au*d organizations in the barangay
that offer services that make a difference.
.
Prepare questions and put them in a logical order.
.
.
Call or visit and interview at least three
(g) people whom you consider
successful in performing their roles to learn more about their services.
.
Make a list of their accomplishments/achievements and specialization.
Find out what they consider important to their success.
.
Collect photos, drawings, illustrations, or videos
(if possible) showing
ordinary people,making a difference by performing their roles in life
willingly and graciously.
25
Drafting
.
Consolidate the information you have gathered, and choose the ones you
will use in your brochure
.
Use few, simple, short, catchybut meaningful sentences.
.
Think of the orderyou will use to organize the factual information.
.
Point out the help, support, and benefits the organization, club, or key
persons receive as well as the specialization or services they offer
.
Explain the significance of the senrices to the target readers.
.
Through speaking and writing, report the services and needs of the
organization.
.
Use photos and charts in the presentation.
Writing and Presenting
.
Ask other schoolmates to read and evaluate your brochure
.
Ask for comments and suggestions.
Iook over the first draft and rewrite it.
.
Polish your draft incorporating the suggestions made byyour evaluators.
.
Do the finishing touches and present your Community Services Brochure.
.
Consider.and be guided by the following criteria:
r' Focus and Content
t/ Organization '
r' Supports
y'
Visuals
t/ Clarity
r' Language Mechanics
.
Checkyour progress.
26
GY'UR
TREA'URE
Clearly, you've actively engaged in various tasks that helped you improve your
understanding of the target concepts, at the same time, develop your language
communication and literary skills.
Your Cornrnuni$ Seruices Brochure informing the public of the ser-
uices auailable in your community serues as a major proof/euidence
of your
under standing of concepts and skflls.
Tofurther proue
Aour
successful and exciting learning expeiences that you
obuiously enj oy ed learning, it rs yust but
fitting
that y ou think back and
fo
cus
on the
follousing
es sential p oints.
Which task/activity have you
enjoyed?
fqund helpful?
would like to work on further?
Keep a record of all of these and add your answers to the following questions:
1. What new and. special way about recognizing your roles in life haveyou
learned?
2. What approach to/attitude in life do you think can help you chart your
course in life?
3.
How will it help you to become a better person?
'
4.
What did you find most difficult in this lesson?
S.
What will you do to do away with these difficulties?
6. Write at least three possible ways/steps you can adopt to solve these
difficulties.
7.
What do you hope to strengthen in the next lesson/s?
27
' +#*tnd
t
li
t:
r
.
Complete the chart as shown with entries called for.
New and special wav Attitude in life How will it help me
Part of the lesson that
I enjoyed are help-
ful
I consider
most
difficult
provide-
ways to
get away
with the
most diffi-
cult
I hope/
expect to
improve/
strengthen
in the next
lesson
I would
like to
work fur-
ther on
28
6 7
d e r e q 8 n o r q l o J e r { B o l a 8 u s s a u e d a r r u o c
u r a o d u S u u a r r r l e p
u I s a r n l s e 8 p u e ' u o l l u r c u n u o . r d ' q c 4 d ' u o q e u o l u r ' s s a l l s
a l e r r d o r d d e a s n
s q d e r 8 e . r e d a r r q d t . r c s a p S u q u r v r u r $ l J u r u u o p u n l c u n d e l u r " r d o . r d d u e s n
1 x a l
u u 1 ] u a u d o l e ^ e p
B e p r
J o
s u r a t r l u d a q l q s l l q u l s e o ] s r o l c a u u o c . r o s p u 8 r s a c u a n b a s
J o
a l o u a { e }
J [ e s e u o
E u r l a r r o c s r p u 1 s d l a q a J n l B J a U [ r r n o q a z d p u e
u o u c e l e s a q l J o e r u a q ]
a q l o l e l n q u l u o c p u u r e q l e 8 o l
{ r o m
u r e o d e q } q p e s n s p J o ^ a e r { } 1 v \ o r { u r e l d x e
s e c u l d p u e s u o s r e d g o s e r u u u r u o 4 p e ^ F a p e r e s p J o m . n n o q u r e l d x e
o l p a u a l s r l
u e l
e q r d q p e d e z r . u o c s e a p l a q t r e l u l s e r
-
p e m e l
I e r J a l u t u
a q l q s u o q u e l u r p u u
, s 8 u r l e a ; , s l q 8 n o q l e r u q s
. : s e r r q c a f
- q o S u r , r n o l l o J a q l . ( q p e p r n 8 e e o l a r u n o d
' d e u . r n o f
r n o d ; o
{ r e r }
e q l B u w r o l l o g
S : I A I I } ] f S O U 0 O A
' u o q e r u J o J s u B J l
e , r p r s o d
-
p o 8 e l B t u r u n s , p l J o 1 v \ a q l
J o
u o r l B z l l B e J e q l r o J s l l r { s d o l e r r a p p u ? s l B r l u e l o d u e p p r q r n o d r e ^ o c s r p o l n o d
p B e l
I I I I I I
r l c H l ! \ s l c B c r o J a r . { p u e s s e u } B e ; 3 s , a u o p l o J u n
I [ . 1 v \
u o s s a l s , { a a M s r q J
' s e s s o u { e e . . v \
r n o d S u r p r o B e l M m u r 8 u o r 1 s p u e
. p a 1 u a p 1
' p a [ p I s r s o w
e r u n o d s e e r u e q l u o s n c o J n o d u e q , r n s u e d d u q s r q l
. q f u a r l s
r n o d
q l l i u r o p
l s n t u
n o d
1 u q , r , r
q s F { l p u u
. J o
e s n
} s e q
e q l 8 u q e u l , , s u B e r u S u r a u [ x u 1 4 1
r a i l a x u a i l a H
; p a n a n l l D
s s a r r n s p u o p a n d s u t u o l l t q u D
' p a u a q l O u a r l s a q
l n o s
a U t u D c
6 u t o $ n s p u o
1 o t " t 1 { o
a c u a t o d x a t 1 6 n o " n 1 l f i 1 u g
' p p b
p u D a s D a u t p a d o 1 a o a p a q
l o u u D c
r a J c D r D q C , ,
A S N U n O r U n O A
f i r Y & 7 1 r , t
O E
e l u e q l
q r l . r \ p e r B l c o s s B
e q p p o c e r u B u
l e q ^ r v r ' s u o q u a l u l
p u e s c l l s r r e l c e r u r . I c r r a r [ u o p e s e g
' t
4 o s
d e s n o ^ ( o p . ( q 1 4
l u e q f ; o
d u e e 4 r 1 e q o t s a { B }
l l t B r l r v r
e , r e q n o , { o q
' 2 ,
a f q l t n e l s o r u
e 4 q n o z ( o p s r a t E r e q c e q l S u o u r e o r y y l
' r
' J a u a q
s J a l c B J B r [ c J n o / v \ o u { o }
l e t
o l s u o q s e n b S u w r o l o ; e q } J e M s u v
: { o o q a l o u r n o d u r s J e r \ s u e r n o . ( e 1 u 1 , 4
o l o q d e q l q s J a p e r u r p a q l o l u o r u r u o c s l r e r l e r l ] u m o p
1 s r 1 ' d n o r 8
, ' # : ;
; s o l o q d
e q l q s r e p e r e r l c e r p m o u > I n o , t o 6
' s o l o q d
S u u v r o l l o g e q f d p n 6
. y
s l u l H o L l l
l l H L x s r f r
' u o s s o l
e q l
l n o q 8 n o r q l , { a u r n o f
r n o d u r n o d e p r n t o l s e p 1 l r p c e o , t q
N r U
a q t u o S u u r o m , ( q u o s s e l a q l u r 8 e q s . 1 e 1
l
S ) S V I ] V I I I N I U N O A
t
a
' a p r s
} r . l 6 u q
a q l
I e
) o o l
o I p o a u { ; u o a n n p u e s o t u t } 6 u r 6 u a ; ; e q r
I s o u
a q ] 6 u r . r n p u a n a s s a u r d d e q s l a l a q j
a l o p a l q u n q s n q l V [ q e l o n !
.
u e q
- e 4 z v
l o
) a u o s t r d a q l p u e r o n o d f u t e p
s r a q u a u a r , t
1
u o r , J ! , u
i :
r | J l r i :
i : # r : i
a L D u ! u a a a ' p u n o 7 e q u D s s a u t d d e g , ,
: s b u t A a r y { o p r o T a t l l p u e , o t u . t o T y
{ o
s a \ c r u o n 1 )
' n 1 1 o 4 f i . t " t o g r u o r J u e { E l S u r s u r q d u r e d ; o s e l d u r e x e e r u a r a H
i n o r t
o l u e a r u s e u l l a s o q l o p
l e q i n 6 u o 5 a q 1 u o r l s e u l l
' e u l [
q c u a p o o l s r e p u n n o d / v r o q s s n c s p p u u ; e u p e d B r l f l 4
{ r o m
. u a q l
u a u r J / v r e l n o d e c u o ' u o p u e i l B
l n o d p e . r n l d u c
l e q t
t u o s e q l t u o J J s a u l l e a J q l
l w e l t P
r r M o p a l l r M
' s e t u p
a a r q l t u o s p a p r o c e r u s d u l d - r e q c e e l . r n o f s B u e l s r . I
. v
u t e 6 v
l e q l
, { e s
e x s u J
1
I
o l o r
i s o l
J n o /
Z E
' u r e q t
e s B J q d B J B d p u e ' l s o u r
e q l e { l l n o d q c r q ^ l
} }
t u o r ; s e u r l o i t 4 l u l v r o p e i l r t r . ' 8 u o s p e p J o c a r r e r { l o u B o l
u e $ I I o 1 , ( p e a r a q
' S u r s u r q d u r e d
u o n o d o l u a r r r t s o l d r u e x e p u u s d u a q ] q r l / v t
. c
' z
a
. L
e s e r q d e r e 4 r n o l 6 u o g e q l r u o r l s e u l l
' l ! ^ e
l l e
p u l q o l p u e ' 6 u 1 . r q
o l ' p u ! + o l ' e l n J o I 6 u 1 . 1 e u o , s r e J a q l
l l e p u e g
[ q e l o n @
s 6 u i i i w g o p r o l
" q 1
, , ' u J e q l
p u t g s s a u ) J e o o q l u l
p u e
l l [
r r E r { I 6 u , 1 . r g o } 6 u r 5 e u g
. u a L l l
p u l J o l 6 u ; g a u g " ! l V u a q l e l n g o 1 6 q ; y
e u g , r ' s p e e l
1 r
e n b u o l u o u l u r o ) e q l u l
' p u o / l / \ ,
o r . l l
+ o
p u a a q ]
; ! 1 u n
s n
q l l m a q u o p s l M l r a q t { e u r p u e e t u l e N
+ o
s u e o n Q p u e s 6 u r y e q . l e n e . r o r r
; ; r n n
f i e q 1
' 1 u a r ; 1 1 u 6 e y 1
e q l r e l e d 6 u r y p u e
' e p u e g o q l u e s n s u a e n S ' l s n f o q l p u n u
- p l 6 u l ) ' l u e l l e n e q t l ( r n 1 u a a n ! : e r u
- J e N
+ o
s u a a n b p u e s 6 u r l e q 1 6 u r l u e s e r 6
u e l s v
^ q
e l o n ['
r '
e l u e N
r o
s a p r u o J q )
, , . s u e ^ e e q
e L l l
t u o J l u M o p u l e l s J p l s a q l
l l l u n
s n a r e l 6
u r o p s l m . r n o [ { e y y
' e r u J e N
, r o
u e a n b
. r o 6 u r 1 e s f e n n 1 e ' e l u l e p
, t o
u a e n b l o
.
6 u l > l e e ) u 6
' 1 u a r r 1 r u 6 e 4
e q l r e l o d
, 5 u ! ) n o f a n r 6
1
' s a ; ) s u J e L l y o u J e a l )
e q l o l p u v ' e l l u a g
e q l u e s n s u e a n Q
' u n s u J e L l l n o s
l u e l p e J
e q l o l
' l s n r
e q l
p u n u p l
6 u g ; ' s p o o m u J e l s e m
1 e a . r 6
e q l 0 1
' l u e l l e n
a q 1 [ r n 1 u e a n Q n o l
e n ; 6 . 1 ' e a s u r a 1 s e e 6 u r u a 1 s 1 ; 6 e q l o l , ,
s ; r
$
L
F
H
&
&
$
f f i
E
B
&
H
f f i
f f i
$
f f i
F
H
f f i
H
r
t
[ , :
L
[ ,
t
i
)
r I
[ l , /
f f i . , /
} , . /
E t '
I e
E
: p g
f , r u p q e c o a r n o d o l p p u o t r J l n m o e g r u o q
r . r o p r , r r r r p p r o ^ a r o s S u r u u e y ; o s a l d u l e x a a l o t u I r m o p
1 s 1 ' u r a o d
e q l p u a l n o d s y
r o r - f , v r - f , l r
e s o o q C
' p r B o q
a o l - c e l - t p s . r q l u l s t u 1 u u e l a q l u r u f f i
' r n o J J o
s d n o r t u u o d
e l E e J c o l s p J o / r o / r ^ l e u r q u o c s t u 1 u u a 1 1
' s t u r u u e y
s B r r r v \ o t D l s p J o / r 4 , a r c J l n l \ 4 , o a g
q s p r o / t e r & J o p , r F { r
l n o q \ r ' f . r p o d
s r l } o s s e u q c l r e r n r o J p e r l u r p B s r J I I u r c a g
s p r o ^ a s o q l ) p e D v c i l s u J .
, .
p e o J u e M s
l a n n s , e ; e q a n
p e o r e l e q / \ ^
5
e t g e q
l o
l q 6 ! i
p n s 6 u g ; r 1 n n s
J O l e o l I e ^ e / l ^
. ,
r a 4 6 p ; o 6
r e n r 6 6 u t . t
s l a 6 u s t l s ' a q l
+ o + e ! L l )
J e p e e l s , t a d o o . t l l e r v r
. r a r { e ; s - u o 6 e . r p
J e a b - b u ! l L . l b l 1 t
u ! t l s - [ e u l
s s e r p - q l n e q
v
u o u r 9 p p a u l e l s - u ! s
l l e q
u i o J +
l ! ^ e p
l ! r u J a L l
e l q ! r r o r . . l
l r ^ e - e l ! l
r e o p - l ! ^ a
z
n n a p - . r a 1 q 6 n e ; s
l e e M s - e l l l e q
r x l r u n o ^
f r .
' e { r e
s r e p B e r
[ B r e u e S
p u u s ] u a p n ] s . ( q p s e r
r s o u
p u , p e l B r q e l e c
] s o u
e q l
$ q s l l 8 u g p l o
l B u l S l r o
e q t r u o J J u o r ] B l s u * r ] s . [ e J J E u u o u n g
l e q r
p r , s u e e q s , q
] I
. r r . r v \ o u ) l u n
s u r B r u o J J a t r r J M
[ B U r S r J O
A r l J
. s J e r r e q
U B B E d p u e u , r l s r r r l c J o , ( B l f u a r . , ,
u u s / v r o q s J F ^ o e f l
. l s a n b u o c
u , r u r o N i q * o r o J e q
s a l J n l u e e r n o ; a t e n 8 u u l u e a d o J n g u J e p o t u B u r u e p r J l y \ r a r r e u r e o d
1 g e l e e . r t a q i
e q o l p r e s s l
l J
' e r n l u a ^ p ?
p u B r B ^ r r p l , v r s l B a p r p y 4 t t f i n m o a g
u r e o d c r d a e q l p B a u
' +l = : . .
L t l :
-
L . =
t =
[ . . : : ' :
1 , . = i
=
[ . r =
[ . =
=
l =
E =
l .
t :
l r
[ .
' : J
[ . '
l i
l a
l i
[ ' i {
F - $
l * i
N " s
[
l , u
b 4
[ ;
l , i
[ ; " !
l ; I , 1 1
l , l
t r ' : - , i
l , "
j
l '
' .
l ; - :
f r _
l l ' j
L =
\ i
q q
u e l
s e F
e q l
s
9 E
L E
\
8
6 E
j l . l n M o e g
l a p u a r 9
a
r e 6 L l l o r H
I O J O a H
u o l l d l r r s a o u n
o
r n o
l x a l
a q l u o r l u o l l d u l s a o s a ! l ! l u l
q o o q o l o u J n o . ( u r s J e 1 l A s u E J n o f
e l l r 6
' q c e e
p e u r 8 e r u l n o d r v r o q u o p e s e q p u u
1 x e l
a q l q p I E s s l
l e q l *
u o p e s u q
q c u a e q r r o s a q
6 u r a o d
e q t u I s e p p u e e q l e u t 8 u u n n o d o p r r , r , o q
' u r e o d
e q l u o p e s e f l
s u o l l e a t f a q l a l e l l s n l l l
g
x s r l l
? o J o e H J o
o J a I { e q . } p a r e p l s u o c s E . r v \ J l n r o e g ' O I
' s p u u r {
s J l n ^ { o a g r u o q e d e c s a o l e l q u s B / (
l e p u e r C
' g
' [ a p u e r 5 J o
l u e J e p
e q l e ] B r q e l e c o ] p e m o l l u
t o u
a r e m s e u e q e q f
' L
' s r u p c l ^
s r q p a 1 v \ o l l s / v \ s
I a p u e r c
' g
' m 8 q l o r H J o p r u 4 e s e r n r
l e p u e r C
' 9
' r o l s u o r u
e q r
u ) t d g s u e
p F o c s r o l r r B / r ^ a r [ J o s u o d e e r v r e q ;
' v
' q 1 t u e r 1 s
s n o r r r r o u e p e r {
I a p u e r C
p u u J l n , r , r o e g
' t
' p o C J o
d u r e u e
I n o J
e q l p e r e p r s u o c s u r v r e H
' z
' J A I S U O I u
z ( p e e r 8 B s B / v l
I a p u a r c
' r
' u e l
a q l r u o { s I I B l o p
r n r i ( J a ^ . s u e r n o d
u o d d n s
o l e J n s e g
' l u a u e l u l s
u e l r S e q l o l o N r o s e ^ e l u M
o N . t o s a ^ / [ e s
f x s u J .
o n
' 9
l
' v
: i l
f
i l
. 1 a
l i
r l
i p u e f i n m o a g
t u a o d c r d a e q l ; o
u e d
s r q l p l p m o H
d J l n , l r o e g
o 1 o p , r u t q r o . 4 1 t u g y p p
r e q 1 6
i f q t g
e q l r a g * , 1 e p u e r g o l p a u e d d u {
r e q 1 4
' t
'
t l ' '
, , .
. l u l o d r n o z ( o a o r 4 ; l e o t s l l e I r l q u a t i n l q
. z
. . , ' , . ' . .
i t t ^ i i n A r r a r n l * 6 r r a a a . * - * f - '
e + a r o e H
o 1 o B ; p , , , a , o a g p l p
l i q A : I
. . l . , i i . . . . : ? , . : . ' . i ' . , . , , ' , ; j . : . i . . . ! ' . ' , : . '
o r
r e B ' t ' b p u q r p
p u e g l t u n r o a g ' s " r i l c e . r p p n o [ B r u ] o a l
" q 1 ) * o , p 1 o +
t q u a ? r e I l v
. '
.
- . . o J o H
a q l o l u l , e , x g t l
t ?
c l d f l
" /
c F r i t
; d : 1 e o d ; o
s a d & o m l e q l J o s e c u e J e J l r p p u u s e p r r u l l r u p e q l e r u
l e { M ' s u r a o d
o r ' r t r
a q l S u t p u a l r e U V : u r e o d c r d e u u s r f i n m o a g e [ q ^ , t r p o d c p d 1 l o e l d u e x e u e s t
a 6 o t r g D s p q o A a t l l p y
'
t 4 e o d
; o
s a d z ( 1
l u e r e # r p
e r u e r e q l
l u r l l
p e u r e e l a B r [ n o t r
r ; l f 1
' s n
r r d S
a x s u r
' f i n m o a g
u e o d c l d e e q l e { H
l o u
r o a T [ n o z ( I q m , S u o s u a r e e r q ]
l s u e l l B
e A r C ' o r
.
e u t e q l
e s n n o f o p / v r o H
4 s q f u e r l s
r n o d a r u
l e r { / v \
' 6
; u e o d
c r d e q q l u l e s n o l l n d ; p r v r o e g p l p s q l t u e r l s
l e r { A
6 d q 7 y 1 ' 6 o 1 ; 1 t u \ o a g
u a { I n o d p p o r r n s e o r e q r e d n s l u e s e r d r n o t u o t u u o r l l \
; d q 1 , 4 a l n m o e g
a 4 t r o
I l o t
n o f p p o a n , ; u q a n
' s 1 u e 9
e q l J o a u o a r a r r t n o z ( ; 1
' 8
. L
' 9
o l
J T T
z n
. . - o d s q
p d n - n n o ;
1 o 1
r o s / u o r p e
r
e u o r l ! p p e
^ # ' l l
u e q l ' ' 6 ' a
a r u e l u a s e q l u ! u o l p u n J
s p u 6 ; 5 a r u $ n b a g
' i r t o l e q
p l r t e t [ l
1 n o
t u u l g z ( q u o q c e l e s e q t u r p a s n e r u s p r o / r { e s e q l a , t o q a t u r }
- s n m ' t o d s
u e c n o d q u u t r s e c u o n b a s e q l u / ( o p
l s f i
r t n m o a g
u r e o d a r n u u c s
. v
q r e r u
u o l } e n p u n d p u e
s l e u 6 l s e { }
l o d s 6 x $ u J .
s x s v r A u : I n o ) s l q
u n o ^
6 f q r r , ' '
p u e
N o . ,
a 4 1 1 n o [ o p p e r r r , e l e 4 n o d
s u a o d r o s a r r o ] s a r p t u o u u q c l r l M
. t
. s u o s s e l
s n o n e r d
r n o r ( u r p e u r B e l a , r e q n o z (
t e t l l
, f t l e o d c r d e r o c u d l ; o s e l d u r e * , , . q * o , ; N
. z
e a r o t u
t u l p e a l d o [ u e n o z ( p p z f t 1 e o d ; o e d , ( ] q c F I l A
. r
: p u r n o f . r n o d
u 1 s u o p s e n b e s a q l r e / v l , s u v
?
: : ! . l
,
' t u a q l
t r n o q e
s u o r 1 s e n b r o m s u e o l d p B a . r e q p u u s u z u e l s a q ]
u r p e s n $ F B r u u o p ? n p u n d a q r
J o
e l o u e { B J
' { l n m o a g
u o r J s e z u e l s e r e r v r o l e g
s u o l l e n } ) u n d a q l
l r e r u
o L x f u r
' t
- (
i l
J !
. \
w
i -
. ^ o 1 r q
s d p t s o d o u r ,
" W g * r r
. ,
F p u e r c
p u u
J l n i v \ o e f l
e c n p o r t r u r o f r r o o l l B q q c a a d g u e l r & v \
' u m r 8 u l p
u u e n r n o f t u o { l s u o l t
- d F c s a p e q l p u u
' p e u . r e e l n o d s r y B u l u o p u n p u n d
( s p u B f t
a c u e n b a s a q l t u l s n y
, ,
,
1
.
.
s j a p H e q f e q l e r n p o r l u l
] ! x s v - l .
.
. , : !
' i
i w e q l
a s n
e &
o p u e r l q l t
) . :
i , p a s n
a f f s { r B r u u o l } B n p u n d a s a q l u a q / ( p a d a l u o c E u r u u a t u e q } q
l B q l l t
. z
, '
; s u Z u t p
u " r q d
" q f
u g p e f f i p t p l e r u s r p c u r u o p e n l c u n d
1 e q 1 y 1
. r
_ _
:
" s > t f f q r
u o $ B r 4 c u n d p o q a . a . r o u l r r r c q l
o l s u o q s e n b e s a q l r e / r $ r v
9 i
- e r u l e q a p t f i t o 4 o 1 4 1 l o I J V
e q ] p u e u e z ' 6 l s l t 6
: y 1 p e Q o l -
' 1 1 e
i l r t o
J a l u a ) a q l
l e
r t u u e l e s a q l
+ o
a e s o l s J a L l l o J o + u o l l
- ) o l + a r
l e u a l e u
e a q
l l t M
q r 1 q M > l J o a n e r n p o l d s u o l p e
1 q 6 1 . r
p u e s u o l p e l q E g l
e r n p o . r d s 1 q 6 - n o q l l q 6 l u ' + q 6 n o t l l l t l 6 l i
a r n p o r d s e n l e A l t 1 6 1 l . ' s a n l e n 1 { 6 t l
s e > n p o ' t d
p u l L u
} o
e l e a d
' { 1 1 e r n 1 e u
s m o l l o J . ' e s l e
Q u 1 q 1 f u a ^ e
u a q } [ ; ; n r t s s a r r n s e u o p s !
l e q l
u a q ^
' s 6 u r p u n o . u n s
s , a u o u o J l
} l o s
s , e u o e l e l e d e s l o u
s a o p q l t q m p u t u r
+ o
e : e a d
" a q 1
a l e n l q n ) o I s l ' l s e l l e q l o { u e
' u r
s e
; a g r r b . r o t o u r
e u o 6 u l 1 . r o ) v r u e q r r n o P o t 6 u l q r e q l o s
s a l r l u v
' A r u r e l q
. r o
' e r r r l e t r r J o l u r ' o l l s q u u r n o f
s e
s a l c r p u 8 u r a n o 1 1 o ; a q l
J o
e d &
1 x e l
e q f d J l l u e p l
' u r e $ r e q t u e l u e J n o d
1 1 e r v r
r v r o q
a a s s , l a T
' s e d & l x e l
l u e r e J l l p
a q l
l n o q e
p e u r u e l n o f s u o s s a l s n o p e r d r n o d u 1
' y
l x o l
a q l a d ^ l t L x s u r ,
. { l n m o a g r u o r J
s u z u e l s c g r c e d s t u r p u e . r s u r n l a { B f
1 1 l / v r
d n o r t q c B U
' f i n m o a g
S u r p e e . r u r e r n l c u n [ p u u u o l l e u o l u l ' s s e r l s l a e J l o c
u o s d p e s o q l f r 1 s , 1 e 1
' 3
i
4 s u r e o d ; o
s e u 1 1 t u u e r r q e P
, ( 1 a r l r 1 c e g e u 1 s u o p s e S S n s r n o d e r e
l u t l J V I
; s e u q
r n o d r e ^ [ [ e p p u u
4 u a d s
n o d . , { e m
e q l p e c r t r o u , n o d e , r u q , l p p u e r g p r r B J l n M o a g t u r c n p o 4 u l s u r n l e 4 e l n o d a l l t m a
' g
J I I
- d
9 n
/ u r o ) ' s a l )
t u e - J a d e d
: , v \ , v \ , v \ / / : d U q
. 0 t 0 2
e u n I u t e I u e . l t J s
u r e l l n q u p o u t
} u a u e u J n o l e q l
+ o
u o t l t p a
l s e l e L { } u o / ! ^ e l p u t
' p t e s
e q
, , ' u o t l e d t ) g y e d . r r a q l p a l u l t ] u o )
e n e q u e ] s l ) e d p u e
e ; p u 1 6 u ; p n l ) u ! s u e o l
l l V , ,
' p l B s
b n H
l n l e l q s y
p e ^ S e r u f n r a x e
+ e t L l ) l r ) u n o ) } e ) ) t J ) u e l s v
, z z
q ) r e t ^ u o
l e u t , l .
e L { } p u e
z I
q ) r e y \ u o e t l
; e l n E n e u r
e q 1 6 u r p n g ) u !
, s e q ) l e u
e , l 1
l l e l s o r . l
l l l M
L u n l p e l s
l e u o t l e N
e 1 6 u e g - a - . r a q s e q l
, g I
q ) J e N u o q s e l )
E u g . r e l e a n - q l n o u e u !
l e e u
l l t M
e l p u l p u e u e l s l l e d s l e ^ l J p l g
' [ e p u o p 1 1
u o p r e s
l e l ) ! # o .
u e
; q r . r e y 1
u i b * q o , t ' O u - r
_ - l . r e l s
l u e u e u r n o l l e ) l l r l d n 3 e ; s y u o l l e u - J n o + e L { }
} o
q ) } e u
6 u r u a d o e q l u t . u e l s ! ) e d
l a e u r
l l l M
q s e p " e l 6 u e g
s f o g : V X V U O
e
l
d u r e s T u r o , s e . r d p r o ^ . o * r , r / i r t
l l i l : ; f j ;
p u a ) ! I e u J ! l ) e q l o l p J e M J o r t .
J e
- p e a l
a r . l l s a u J p )
l e q l l u e u r e ^ o u
+ o
e s u e s s l L l l s l [ 1 d e r s , 1 s o . r 1
1 o
6 u r u e e u e q l s e 6 u r l s e l a l u ! s e s !
l e r , l m 1 n q
, r a 1 1 m n
f u e
1 a
p e u t e
a q p l n o )
l e L { }
u J s ! ) ! } U ) e s , } l
. s g t n d
p n o l ) p u e s u J e } ,
+ o
q l e a r M
e u l e ) l l p o 6 l e l e n n a L { } u l p a p a l + e J
, + l a s r u l t {
[ g u o - 6 u 1
- e e s p u e
l l e m
e o l u g E u ; 1 o o l r o , t u t q e ) n q o J s p u a t J + s { e s a q
+ l e q l s r ! +
e q l u l
' 6 u ; q l e u r o s
, u e q l , e ) u 6
t o 1
, s e r a l d
u M o u )
_ J a s s a l
s , l s o J J
+ o
e u o
1 o
y e d
r u o . r l e ; d u u e x e u e s , a r a g
, , . o d
6 u r p a 1 p u e u o F u r p l o q , { e
I
T o l f
} o
p o D
} e e . r 6 a q 1 p i O O 1 , . l s
- J o M
e H
/
M o u s
+ o
s l + t r p p l e n n , { e n n
r l e q s l H
7
g e i ; u e l 6
+ o } n o
p e n J e ) p e e q
s l H , , : s s a u l e e l E s , I s o J J
+ o
i l e a q e q l u o . r e 6 u r l
s r q s l n d s r ) u e r J
u e q o g
, s 1 a o 6
1 e e r g r n o l p a l 1 i 1 u a
u e o d e u 1
' 1 u r o d
E u r u l n l 6 r q e o l s n s p p a l p u e
, e t u e J l x a
l r e l l l
o l s u o t l e n l r s s a q s n d
, p ! l l u o )
s e l e . r e 6 6 e x e
e r u e J p
l n g
. u o t l e l o
- n e l 6 u l 6 u e L l ) - e l t l o l p e a l p l n o M
l !
+ !
u a ^ a - e u n e r l
l e u o l l e l
.
- u o r l u o )
1 o u
I e p - { q - [ e p
l u e n n e M
' I r o M
r o ] a u t ] s r l p o s l d 3
' a u o p
q o [ o q ]
1 a 6
p u e p t l + u o )
a ] e u t u t l a o ] r u r g L l 6 u r n j o s r u e l
- q o t d u o d n p a s e q s l
) 1 0 6 , , . l o n o u
e { ; u o s , 1 ; , , " , , , r { e i d e { ; u o
E ) ; , , , , ' e l n o u l
e { 1 u o s , 1 1 , ,
, r { e s
o } o s l e
} n q
, s u o t } o u a
} o
a 6 u e . l
e s s e l d x e o l s n s m o l l e
l e L { } a ^ l e n { 1 e t r e s e - u o ; 1 e n 1 ! s r l a L l }
p u e s n u a e M l o q a ) u e l s t p e o s l e s , a J e q l
l n q
, s J e l f e J e l . , l )
s I !
1
+ o
a J o t u J o e u o q l t m e z ! q l e d u . r a o n n
, e r u e l p
) t l s t y p u e q l l 4
L i
' u b o l p q
l q 8 n o q t
e q l u l s d q p u e s e r n l B a l e q l
l n o q B
s B e p l r n o , ( t e l u
A
' :
, ' s 1 x a 1 r ( r e . r e i l S u t P e e r u r s d P
.
p u u l r y e 1 r f t e . r e 1 1 1 E
J o
s a l n l e e J
.
: e r i l e J E
{ u r q }
n o d o p
} B l { r v r ' s J e l t s u e
r n o d u o p a s B g
' g
' 6 u o g e
p a 6 6 o t { e q 1 s e { ; a n e l q s , } l n m o a g
6 u r ; ; a 1 a . r ' u t e 6 e ] o J o o H
p J e n n o ] { 1 n n o 1 5
u o q l a p o r , p u e ' s u o ! l l e l s
p . a u r l d s - t l 6 t L ; ' s a s l o 1 1 p a ^ o o q
- p r e q J l a q l p a l u n o u ' o 6 e u t u 6 1 r d { d d e q
} e L { }
u o u
s E S
) ) e q
p o u J n ] ' p a : t o f a l 6 u n o [ . p u e p l o ' u a i . l l
' t u t t {
a n t a ) a l o l p e u a d o
l l a q
s e ' p u l
o l q e t a s t u t s l q s s a u ) r e p [ 1 . r n u r u r d a e q
6 u
1 ,
r n n s
# : l , l J ' 1 , ; t : 1 ' # L l t ; i , " 1 , ? f f i : ' i l [
, E s
l e e q
' s a n e n n 6 u t P u n o d a l q r . r r o q u 1
6 u r l r o q p u e E u l u e e 1 s ' { p o o ; q s e n J o } e M a q l
' e 1 r 1
E u r q s t u e n s t q
r t o
{ . r e a n n { p e e r ; e p u v
p a u o o p ' { e n n e 1 1 1 a s d r o : s 1 q p a 6 6 e j P p , a L , l a r o q A
a ) e l a q l
+ o
a 6 p e a r l l o 1 ' l q o l l + A 1 a u o 1 p u y g z g
u a } e o q s t q , s } u t ; t , d } , o o 1 [ p o o ; q . s l q . 6 u t r e l 1 } u e ^ ^
' 6 u u a g n s s t r . l J o ; '
l e . r 6 e l
q u
U a ; '
' M o l l o s
+ O
o s u a s o u t l l t l v r p a d e 6 { e q 1
' s 1 r e l }
6 u r r e 6 6 e } s
} e e J D
s , J a l s u o L u a L , l l p l o q a q o 1 b u l f u l n q u o u
, t O
l l e L l
] e q }
o 1 6 u t t - u o r s J o l J J e M ' I o J o H
p a p u n o J l n s s p m o J ) ' 6 u t u l o u J e L { } u ! ' u a q } p u v
i l n / \ A o a g
u l o J l
8 ?
, e u d q r
a r r u o p a p u r u a r o s
. I a s r
p , , , f f j ; J J : j r : : j - i X , q $ . ] ; 1 1 f f i i f r t ^ , l j
r n o d ; o
l u o 4
u l o J I I r n o f u r o r e q e q l
] n o q u d e . r e l n u r u r - a u o B r a p u e r
I I I
{ n o r \ .
' g e d
a q l r o J
r n o
d a o l p , , l s , u e e q a q n o
' d u r
e q t n o r q l o r e q T r i p u r r q , p r r l
e q l e r n p o J l u l
u / v r
o q r v r r e d d e r B J o q c J B e s u r s r p p n t c l l B r u B J p s . l o o q c s J n o t r
. l , t o u
d e r o l e c u u q c . r n o d s , U
. C
,
" 1 T ; ' # : i l f ; # : 1 T ;
' e d f s
u r r a , o . r n o z (
U B J C
' a l d o e d
p u e J J o
I I y r
f e r l l
t u r q l z ( u u d u s
1 , u o q
l e e q
E o l e t u l l u r d u r u u o ; t e d .
. z
- . l
_
, l / ! i l
, "
'
" _
|
. r u J o J
c p a o d d u e u r s e
d u r u r s r e H , r u a t u d q g ' d u r
p r w n o u ( l u l r a l , u r
o q r q a u r d r i . r s . e r e r f r e r n s e { B l ^ t
. r
: s . r v r o [ [ o J s u d e r e q l S u r o p u o s d p e q l z ( q p a p r n t a g
. B u r d d e r
d q s s u l c " a q l o l
l n d l n o . r n o d l u e s a r 4
. . ' s J e l c B J E r l c
e q t r e c n p o J 1 u 1 , ,
' p e p p u e r r
{ s B J
' & y r p c u s n o r , r e . r d r n o d o 1 4 c e q o c
. g
. q d e r t e r e d
r n o ' ( u r g t u l u u d y
J o , s e l d u r e x a
e t u o s p t i u s p r o r r r e . r r q d F c s a p . l r I B l J
o q l e s n o l
e J n s e f l ' , ( r i , , r r F u
s n o r u r e r d ' r h o d
u r p a l u a s a i d ' p u e
a 1 o . r a * n o z ( u o p c n p o r l . r ,
r q r
o l
) t c B g
o 3 d e u n o ^ , s u o l o c - r u r o s . p u B
s u o l o c s B r { c n s p e u r B e l e , r u q n o f q e u S r s
e c u e n b e s e q r a p n l o u l
' e 3 1 1 r n o , ( u t o , r a q B
l n o q ,
s a c u o r u a s
1 r y t u r u u e u r
e r p m
. v
,
o J a H , e , o l
l u e a w d e u
e t . x s u t
, r r i - ,
i : , ! " 1 .
t r i :
' 9
' 9
' v
' t
s x s v r l v N t j U n o A
6 V
f f ^ i - i i r i . ! i ' i : , t l r { O
I
f r
, . r _ . t " , - ,
j
. . f ' ' i t T
- 7 \ . r
: . . : , : .
' ;
I ' l l i
i
. u o s s e [
s . { o e M s l r t i
I q o 4
t - u l u r e a l
t u u u o d u l l $ o l u
r n o d e } B r l s n m o f
l u B . e r
f q t p r n o f ' J O ' u o l s s n c s l p s . { e e / t ^ , e t p t u o . S l s o t u a I R a n l u
n o f s t u r q l a t p e 1 u
A
' g
t '
' -
' /
:
:
"
' l B u m o [ m o d u 1 s . r q l o O
. i v r o l e q
e t q u T
p l 1 1 u ! . u r a q f e s n - o l
P u e l u T
n o d r v r o q
P u s
s q f t u a q s I n o d u r u o P l s l l ' Y
s u o s s e l s , a l n J n o A a r e q s
' ]
x s l
r u n s v r . u r u n o ^
t e t u
J n o
' u E i
e I R i
d u . r u
( ' s J e I
- - - - - _
- t -
r n O r (
u
e J n s q
o l { a u c
a c u e n l
YOUR
JOURNEY
A life well lived cannot be easily forgotten. Not when you have left a mark so
noteworthy
that enables people
to make a difference not only in their lives but
more so in the lives of others. How would you like to b. ;.;;#;
What
legacy would you like to leave behind?
This lesson will allow you to learn how the legacies of the past shaped the
wayyou are now and howyour legacy could dictate the future of others.
YOUR OBJECTIVES
Following the track of your journey,
you are to be guided
by the following
objectives:
agree or disagree with the ideas of the author
summarize the contents of the materials viewed
explain word meanings and origins
examine sampl.e texts-representative
of each type
express appreciation for sensory images used
analyze literatdre in enhancing one's self
use the correct pitch, juncture,
stress, intonation, rate of speech, volume and
projection
in delivering lines of prose
and poetry
.
scan sequence signals or connectors used in a text
compare and eontrast text types
use hyphens and dashes correctly
YOUR INITIAL TASKS
TA$K r The Harmony of Ma1 and Environment (H.O.M.E.)
Watch as the camera tracks the lives of the youths like you. How would you rise
to the challenges presented?
What do you think motivated them to do this video?
50
m
d
&
Hormony of Man ond Environment (H.O.M.E.) Lounching 2009
T&Sffi m
Look at the picture. What could be the cause of this phenomenon?
fA\
\>
&"
?&sffi s Lend Me an Ear...
Listen as the video runs for the second time. Take note of the ideas presented
below and indicate whether you agree or disagree with them.
T&sffim lnaCaPsule
As you have viewed the video twice, summarize its contents using appropriate
sequence signals. le
l?
51
YOUR TEXT
T&S!{ r Whatt in a Word?
Match the words in Column Awith their correct meaning in Column B. Be ready
to use the words in sentences. write your answers on your notebook.
Column A
1". betwixt (ME)
2. holden (ME)
B.
betokens (ME)
4.
tomorn (ME)
5.
weened (OE)
6. Jesu (LL)
?ifrSffi 6 A Hero in You!
What does it take to be a great man?
Column B
to signifiz; to indicate
that is to say; namely
c. between
d. to think of; to expect;to hope
e. Jesus
f. tomorrow
a.
b.
Tfte Day of Destiny
from Morte D'Arthur by Sir Thomas Malory
52
ady
A
nd quickly KingArthur movedhimselfwithhis
army alongthe coastline
/!
westward., toward Salisbury. And there was a day assigned betwixt King
L \rthor and Sir Mordred that they should not meet upon a field beside
Salisbury and. not far from the coast. And this day so assigned as Monday after
Trinity Sunday
(the eighth Sqnday after Easter), whereof King Arthur was passing
glad that he mightbe avenged upon Sir Mordred-
So upon Trinity Sunday at night King Arthur dreamed a wonderful dream,
and in his dream it seemed to him that he saw upon a platform a chair, and the
chair
yras fast to a wheel, and thereupon sat King Arthur in the richest cloth of
gold that might be made. And the King thought there was under him, far from
him, and hideous deep blackwater, and therein was all manner of serpents, and
worms, and wild beasts, foul and horrible. And suddenly the King thought that
the wheel turned upside down, and hq fell among the serpents, and every beast
took him by a limb. And then the King cried as he lay in his bed, "Help, Help!"
And then knights, squires, and. yeomen awaked the King, and then he was so
amazed that he knew not where he was. And then so he awaked until it was night
day, and then he fell on slumbering again, not sleeping nor thoroughly waking.
So it seemed to the King that there came Sir Gawain unto him vgith a number
of fair ladies with him. so when King Arthur saw him, he said, "welcome, my
sister's son. I weenedye hadbeen dead. And now I see thee on
-
live, much am
I beholden unto Almighty Jesu. Ah, fair nephew and my sister's son, what been
these ladies that hither be come with you?"
"Sir," said Sir Gawain,
"all these be ladies for whom I have fought for when I
was man tiving. And all these are those that I didbattle for in righteous
quarrels,
and God had given them that grace, at their great pr-ayer, because I did battle
for them for their right, that they should bring me hither unto you . Thus much
had given leave God", for to warn y,.QS
9f
your death. If you fight tomorrow with
Sir Modred, as ye both have assighbd; doubt ye not ye must be slain, and the
most party of your people on both
parties. And forthe great grace and goodness
53
that Almighty Jesu had
unto you, and for pity of you
and many more other good
men there shall be slain, God had sent me to you of his special grace to give you
warning that in no wise ye do battle as tomorn, but that ye take a treaty fora
month from today. And you make generous
offers
,
so that tomorn ye put in a
delay. Bor within a month shall come Sir Lancelot with all his noble knights and
rescue you worshipfully and slay Sir Modred and all that ever will hold with him.
Then, Sir Gawain and all the ladies vanished. And anon the King called upon
his knights, squires, and yeomen,
and charged them quickly
to fetch his noble
lords and wise bishops unto him. And when theywere come the King told them
of his dream, that Sir Gawain had told him and warned him that, and he fought
on the morn, he should be slain. Then the King commanded Sir Lucan the Butler
and his brother Sir Bedivere the Bold, with two bishops with them, and charged
them in any wise to take a treaty for a month from today with Sir Modred. "And
spare not: proffer him lands and goods as much as ye think reasonable.',
So then they departed and came to Sir Modred where he had a grim host of
a hundred thousand, and there they entreated Sir Modred long time. And at
the last Sir Modred was agreed for to have Cornwall and Kent by King Ar-
thur's days, and after that, all England, after the days of King Arthur.
Then they ageed that King Arthur and Sir Modred should meet betwixt both
their hosts, and each of them should bring fourteen persons. And so they came
with this word unto Arthur. Then said he, "I
am glad that this is d.one," so he
went into the field.
And when King Arthur should depart, he warned all his host that, and they see
any sword drawn, "Look ye come on fiercely and slay that traitor Sir Modred,
for I in no wise trust him." In like wise Sir Modred warned. his host that " And
ye see any manner of sword drawn, look that ye come on fiercely, and so slay
all that ever before you standeth, for in no wise I will not trrist for this treaty ."
And in the same wise said Sir Modred unto his host, "For I know well my father
will be avanged upon me."
And so they met as their arrangernent was and were agreed and accorded thor-
oughly. And wine was fetched and they drank together. Right so came and
adder out of a little heathbush, and it stung a knight in the foot. And so when
the knight felt him so stung, he looked down and saw the adder. And anon he
drew his sword to slay the adder, and thought none other harm. And when the
host on both parties saw that sword drawn, then they blew beams, horns, and
shouted grimly. And so both hosts diessed them together. And King Arthur took
his horse and said, "Alas,
this unhappy day!" and so rode to his party, and Sir
54
:of
.at
\r-
rod
Fou
bra
na
md
im.
,on
;ble
em
Bht
iler
Ied
nd
Irr.
rth
me
he
iee
)d,
nd
ay
rer
)r-
nd
en
he
he
nd
ok
iir
ti
Modred in like wise.
And never since was there never seen a more dolefuller battle in no Christian
land, for there was but rushing and riding, lunging and striking; and many a
deadly stroke. But ever King Arthur rode throughout the battalion of Sir Modred
many times and did full nobly, as a noble should do, and at all times he fainted
never. And Sir Modred did his devoir that day and put himself in great peril.
And thus they fought all the long day, and never stopped till the noble knights
were laid to the cold earth. And ever they fought still it was near night, and then
was there a hundred thousand laid dead upon the down. Then was King Arthur
wild with rage out of measure when he saw his people so slain from him. And
so he looked about him and could see no more of all his host, and good knights
left no more on
-
live, but two knights: the t'one was Sir Lucan the Butler and
the other his brother Sir Bedivere. And
yet they were full sore wounded.
"Jesu, mercy," said the Kng, "where are all my noble knights become? Alas that
ever I should see this doleful day! For now," said King Arthur. "I am come to
mine end. But would to God." Said he
,
"that I wist nowwhere were that traitor
Sir Modred that has caused all this mischief."
Thgr King Arthur looked about and \ryas ware where stood Sir Modred leaning
upon his sword among a great heap of dead men.
"Now give me my spear," said King Arthur unto Sir Lucan. "For yonder I have
espied the traitor that all this woe hath wrought."
"Sir, let him be," said Sir Lucan, "for he is unhappy.And if ye pass this unhappy
day ye shall be right well revenged upon him. And, good lord, remember ye of
your night's dream, and what the spirit of Sir Gawain told you tonight, and yet
God of his great good.ness had presenred you hitherto. And for God's sake, my
lord, leave offby this, for, blessed be God, ye have won the field: for yet we been
here three on
-
live, and with Sir Modred is not one on
-
live. And therefore if
ye leave offnow, this wicked day of destiny is past."
"Now, befall me death, tide me life," said. the King, "now I see him yonder alone,
he shall never escape mine hands. For at a better avail shall I never have him."
"God speed you well!" said Sir Bedivere.
Then the King got his spear in both his hands and ran toward his Modred, crying
and saying, " Traitor. Now is thy corne!"
And when Sir Modred saw King Arthur, he ran until him with his sword drawn
55
in his hand, and there King Arthur smote Sir Modred under the shield, with
a thrust of his spear, throughout the body more than
4
fathom. And when Sir
Modred felt that he had his death's wound, he thrust himself with the might that
he had up to hand guard of King Arthur's spear, and right so he smote his father
King Arthur with his sword holden in both his hands, upon the side of the head,
that the sword pierced the helmet and the casting of the brain. And therewith
Sir Modred dashed down stark dead to the earth.
And noble King Arthur fell in a swough to the earth, and there he swooned. often-
times, and Sir Lucan and Sir Bedivere oftentimes heaved him up. And so, weakly
betwixt them, they led him to a little chapel not far from the seaside, and when
the King was there, him thought him reasonably eased. Then heard they people
cry in the field. "Now go thou, Sir Lucan;" said the King, "and let me know what
betokens that noise in the field."
So Sir Lucan departed, for he was grievously wounded in many places. And so as
he walked he saw and harkened by the moonlight how that pillagers and robbers
were come into the field to pill and to rob many a full noble knight of brooches
and bracelets and of many a good ring and many a richjewel. And who that were
not dead all out there they slewthem for their harness and their riches. When Sir
Lucan understood this work, he came to the King as soon as he might and told
him all what he had heard and seen. "Therefore by my advice," said Sir Lucan,
"it is best that we bring you to some town."
"I would it were so," said the King, "but I may not stand, my head works so.
Ah, Sir Lancelot," said King Arthur, "this day have I sore missed thee. And alas
that ever I was against thee, for now have I my death, whereof Sir Gawain me
warned in my dream."
56
with
r Sir
that
rther
ead,
with
ften-
aHy
rhen
ople
rvhat
io as
bers
ehes
,vere
n Sir
told
tcan,
s so.
alas
Ime
Then Sir Lucan took up the King the t'one side and Sir Bedivere the other parEy;
and in the lifting Sir Lucan fell in a swoon that part of his guts fell out of his body,
and therewith the noble knight's heart burst. And when the King awoke he beheld
Sir Lucan how he lay foaming at the mouth and part of his guts lay at his feet.
"Alas," said the Krg,
"this is to me a full heavy slghito see this noble duke so
die for my sake, for he would have helped me that had more need of help than
I. Alas that he would not complain him for his heart was so set to help me. Now
Jesu have mercy upou his soul."
Then Sir Bedivere wept for the death of his brother.
"Now leave this morning and weeping, gentle knight," said the Krg, "for all
this will not,avail me. For wit thou well, and I might live myself, the death of Sir
Lucan would grieve me evermore. But my time passeth on fast," said the King.
"Therefore," said King Arthur unto Sir Bedivere,
"take thou here Excalibur my
good sword and go with it to yonder water's side: and when thou comest there
i charge thee throw my sword in that water and come again and tell me what
thou saw there."
"Mylord.," said Bedivere, " your commandment shallbe done, and I shall quickly
bring
your sword again."
So, Sir Bedevere departed. And by the way he beheld that noble sword, that the
hilt and hand guard was all precioup stones. And then he said to himself, "If I
throw this rich sword in the water, thereof shall never come good, but harm and
loss." And then Sir Bedivere hid Excalibur under a tree. And so, as soon as he
might,
he came again unto the King and said he had been at the watgr and had
thrown the sword into the water.
"What did you see there?" said the King.
.
*Sir,'
he said,
"I saw nothing but waves and winds."
!'That
is untruly said of you," said the King. "And therefore
you go quickly again
and do my commandment: as you are to me loved and dear, spare not, but throw
it
in."
Then Sir Bedeivere returned again and took the sword in his hand. And yet he
thought sin and shame to throw away that noble sword. And so again he hid the
,*ord and returned again and told the King, that he had been at the water and
"Sir," he said, "I saw nothing but waters lap and waves grow.,,
"'Ah, traitor unto me and untrue," said King Arthur, "now you have betrayed me
twice. Who would have weened thaflyou have been to me so loved and dear, and.
you are named a noble knight, and would betray me for the riches of this sword.
But now go again lightly, for you long tarrying put me in great jeopardy
of my life,
for I have taken cold. And but if you
do now as I bid you, if ever I may see you I
shall slayyou with my own hands, for you would for my rich sword seeme dead".
Then Sir Bedivere departed and went to the sword and lightly took it up, and
so he went to the water's side; and there he bound the girdle
about the hilts,
and threlv the sword as far into the water as he might. And there came an arm
and a hand above the water and took it and clutched it
,
and shook it thrice and
brandished; and then vanished away the hand with the sword into the water. So
Sir Bedivere came again to the King and told him what he saw.
"Alas," said the Krg, "help me hence, for I dread me I have tarried. overlong.,,
Then Sir Bedivere took the King upon his back and so went with him to that
wateris side, even closer, by the bank floated a little barge with many fair ladies
in it; and among them all was a queen; and all they had black hoods, and all they
wept and shrieked when they saw King Arthur.
"Now put me into that barge," said the King; and so he did softly. And there
received him'three ladies with great mourning, and so they set them down. And
in one of their laps King Arthur ldid his head, and then the queen said, "Ah, my
dear brother, why have ye tarried so long from me? Alas, this wound on.your
head had caught over much cold." And anon they rowed fromward the land., and
Sir Bedivere beheld all the ladies go forward him."
Then Sir Bedivere cried and said, "Ah, mylordArthur, what shall become of me,
nowyou go from me and leave me here alone among my ene?nies?"
"comfort yourself,"
said the Krg, "and
do as well as you may, for in me is no
trust in.'For I must into the legendary valley to heal me of my grievous wound.
For ever the queen and ladies wept and shrieked, that it was pity to hear. And as
soon as Sir Bedivere had lost sight of the barge he wept and wailed, and so took
the forest and went all that night.
And in the morning he was ware, betwixt two bare woods, of a chapel and a
hermitage. Then was sir Bedivere glad, and thither he went, and when he came
into the chapel he saw where lay a hermit groveling on all fours, close thereby a
md
ilts,
[fn
rnd
So
tt
J
hat
ies
ley
me
and
lrd.
life,
ruI
rd".
as
ok
la
ne
ra
)re
nd
my
,ur
nd
1,
no
rd.
tomb was new dug. When the hernr,it saw Sir Bedivere he knew him well, for he
was but little before Bishop of Canterbury, that Sir Modred put to flight.
"Sir," said Sir Bedivere, "what man is.there here interred that you pray so fast for?"
"Fair son," said the hermit. "I wot not verily but by guessing. But this same night,
at midnight, here came a number oJladies and brought here a dead corpse and
prayed me to inter him. And here they offered a hundred tapers, and gave me a
thousand gold coins."
"Alas," said Sir Bedivere," that was mylord King Arthur, which laid here buried
in this chapel."
Then Sir Bedivere swooned, and when he awoke he prayed. the hermit that he
might abide with him still, there to
live
with fasting and prayers:
"For from hence will I never go," said Sir Bedivere," by my
will, but all the days of my life here to pray for my lord Arthur."
"Sir, you are welcome to me," said the hermit, "for I know you better than you
think that I do: for you are Sir Bedivere the Bold, and the full noble duke Sir
Lucan the Butler was your brother."
Then Sir Bedivere told the hermit all as you have heard before, and so he stayed
with the hermit that was beforehand Bishop of Canterbury. And there Sir Bedi-
vere put upon him poor clothes, and served the hermit full lowly in fasting and
in prayers
Thus of Arthur I find no more written in books that been authorized, neither
more of the very certainty of his death heard I nor read, but thus was he led away
in a ship wherein were three queens; that one was King Arthur's sister,
Queen
Morgan le Fay, the other was the
Queen
of North Galis, and the third was the
Queen
of the Waste Lands. .
Now more of the death of King Arthur could I never find, but that these ladies
brought him to his grave, and such one was interred. there which the hermit
bare witness that was once Bishop of Canterbury. But yet the hermit knew not
in certain that he was verily the'body of King Arthur; for this tale Sir Bedivere,
a knight of the Table Round, made it to be written.
Yet some men say in many parts of England that King Arthur is not dead, but
carried by the will of our Lord Jesu into another place; and men say that he shall
come again, and he shall win the Holy Cross. Yet I will not say that it shall be so,
but rather I would say: here in this world he changed his life. And many men say
that there is written upon the tomb this:
59
bir
recet lrtfirrue, !l&ex
@uonDsm, lBexque tuturud
(Here
lies Arthur, who u)as once king and king witl be agtain)
?nsx'tr The Mirage
Writers paint word pictures or images that appeal to our senses of sight, sound,
smell, taste, and touch in poetry
and in prose composition. trook for the images
that you have located in the text. Cgpy the chart below on your notebook and
write down the details in the appropriate column.
TRsI{ s wlull Over,in Groups!
piscuss
and answer the questions below in groups. Write your answer on one
whole sheet of paper.
t. How would you describe King Arthur as a king? Locatp a part in the story
that will support your answer.
2. What hope is given to people in his tomb sayrng.Arthur is the "once king and
king that will be"?
g.
Why do you think some men say in many parts of England-that King
{rthur
is not dead, but carried'by the will of our Lord Jesus into another place; and
that he shall come again, and he shall win the Holy Cross?
4. What
great deed did King Arthur achieve as he lived his life? What was his
greatest legacy?
S.
What pattern is used to d.evelop the idea of the text? Point out the sequence
signals or.connectors in the text.
1
2.
3. i;
4.
5
60
Ed,
ges
nnd
6. How do images or word pictureghelp you
experience a scene in the excerpt
The Day of Destiny?
?#LSK S Group Activity
You will be grouped byyour teacher into three (g).
Each group will be given an
article to read in ro minutes. Once done reading, listen to your teacher's further
instructions.
Tftsl{
qCI
Plotting Them All
TfisK rr weigh up!
Examine the following examples of texts. Indicate the type of reading text they are.
1. Men in great places are thrice servants:
senrants of the sovereign or state,
servants of fame, and servants of business
"Of Great Place"
NASA is proposing another space project. The agency:s budget request,
announced today, included a plan to send another person to the moon.
Those that have tenacity will not quit when confronted by obstacles or when
failing. In a game or in life, tenacity wants to win, and tenacity lives by the
credo, "Failure is not an option."
2-
3.
,ry
nd
ur
nd
Examine how the three (g)
articles were written using the following criteria:
Criteria UNESCO sends
experts to
Tubbataha Reefs
How to Maintain
Cultural !dentity
The Courage that My
Mother Had
, .,
Purpose
Format
Features
Language Use
ris
61
Three passions (simple
but overwhelmingly
strong) have governed
my life:
the longing for love, the search for knowledge, and the unbearable pity for
the suffering of mankind.
Director Steven Spielberg launched a Germany-wide contest Sunday designed
to promote
tolerance through students' intercultural interaction.
If you can dream
-
and not make your dreams your master;
An earthquake is a shaking or rolling movement of great masses of rocks on
the earth's uppermost layer or crust.
T&sK tx Bite the Dash--
Study the following sentences below. Notice that they are punctuated
with a
dash (-).
' 1. When in 196o the stockpilewas sold off- indeed, durnped.as surpl_qs- natural
rubber sales were hard hit.-Barry Commoner
2. The presentations-and
especially the one by Ms. Ramos-impressed
the au-
dience.
3.
oil, steel, and wheat-these are the sinews of industrialization.
4.
My foot is on my native heath...-Sir Walter Scott
5.
Your question-it
was your question,
wasn't it, Mr. Jones?-just can't be
answered.
TR$IK tB Write a Dash
Punctuate the sentences below with a dash (-).
1. I am under the impression that she has no instruction at all and" doesn't need
any.
Strauss favors as does Sotto voce, the Administration is early admission of
Russia to the International Monetary Fund.
To feed, clothe, and find shelter for the needy these are real achievements.
The motion was then tabled that is, removed indEfinitely from consideration.
If we don't succeed and the critics say we won't then the whole projects is in
jeopardy.
4.
5.
6.
7.
3.
4.
5.
TASK {*e Type the Hype
62
rlife
tyfc
lgnd
ks on
ith a
tuml
! au-
teed
nof
lts.
ion.
sin
The words below are punctuated wi*r a hyphen (-). Study the words carefully.
1. anti-inflationary
3.
a come-as-you-are party
4.
a six- or eight-cylinder engine
,:,"
.
5.
the ruling-passion of his life
6. one hundred thirty-eight
7.
a two-thirds majority of the vote
8. pages
40-98
g.
the NewYork-Paris flight
TASK {5 Let's Hype!
Punctuate the words/phrases below with a hyphen.
L. . co-opted
2. good for nothing
3. She has gray green eyes
4. pre and post adolescent trauma
YOUR DISCOVERY TASK I
TASK {5 Me-Metaphors
T:ASK t6.'r one with others
'';
.
.
Do you consider the Tubbataha Reefs as natltre's legacy to mankind?
flhat
connections do you share with Tubbataha Reefs?
.
Do you consider cultural heritage as your forefathers'legacy? What is your
63
role in the preservation
of culture in the country?
what is your mother's greatest legacy? Do you consider this legacy worthy
of passing on to your children?
j
n
t:r
..
. lt.o
r.!ft'
TfiSK {6.2 My Legacies
What would
5rour
legacy be? Accomplish the chart below.
*
it
64
,rer
AYouR
FINALTA'K
The Iocal government is planning to convert your town's rice fields into an
industrial park. One,of the bridges with historical valuewill be demolished.
Most of the residents disagree with this plan, some agree, and a few remain
undecided. lf you were in the shoes of each of the people enumerated be-
low whatwould you say about the plan?
Remember that you are to perform a choral recitation at the end of the quar-
te1. The following tasks will help you (r)
empathiae with the characters' opinions
.and feelings and understand where the"speakers,are coming from and
(z)
make
use of appropriate speech features to make your performance successful.
TAsK rr Sharing Other People's Perspectives
(SHOPP)
Municipal Engineer
BusinessMan
Teacher
Vendol
StreetSweeper
Student
Mother
Historian
65
I
TASK ta Viva Voce!
choose your favorite part of the tert, The Day of Destiny. with a partner,
read the part aloud using the correct pitch, juncture,
stress, intonation, rate of
speech, volume, and projection.
Rubrics:
r.{
':
h
i.rt*iiiiiioii
Pitch Student's pitch
does not change
the meaning of the
Student's pitch
changes the mean-
ing of at least two
(2)
words/phrases.
Student's pitch
changes the rnean-
ing of all the words/
Student pauses
in all periods and
commas.'
Student pauses in aI
least two
(2
)
peri-
ods or commas.
Student pauses in
one
(1) period or
cQmma.
Stress Student emphasizes
all words and sylla-
bles cor:rectly.
Student emphasiz-
es at least two
(2)
words or syllables
correctly.
Student emphasiz-
es one
('l)
word or
syllable coirectly.
lntonation Student observes all
possible intonation
patterns correctly.
Student observes at
least two
(2) pos-
sible intonation pat-
terns correctly.
Student observes
one
(1) possible
intonation pattern
Student reads at an
average speed.
Student reads at a
speed
just
enough
to be understood.
Student reads very
fast and incompre-
hensible.
66
er,
of
:
:<=
s
st
rl,utdr"rne
Student applies the
correct volume in
readinq.
Student applies only
two
(2)
correct vol-
umes in readinq.
Student applies gnly
one
(1)
correct vol-
ume in readinq.
ffie{ection Student reads the
text loudly and
clearlv.
Student reads some
text loudly and
clearlv.
Student's reading is
not loud and clear.
e
YouR TREA',RE
"We learn rrutchfrom the past to understand the present. We shape and liue
the present to send amessage to thefuture
-
a LEGACY
-
uthich couldbe akey
to understqnding the SELF'
My
journey
through this lesson enabled me to learn
My
journey
through this lesson enabled me to learn
It made me realize that
I therefore commit to
67
a
a
a
a
a
a
a
a
a
YOUR JOURNEY
Normally you hear from people who care say, "Don't be your own roadblock
to success!" This is the challenge you need to attend to amidst diffrculties and
sufferings you may experience. This simply means you need to be aware of, face,
and,then remove the setbacks, burdens, and difficulties which at time upset you.
To fear them is alright but you have to face these fears and live with them coura-
geously. They are parts of the games you have to play to make your life better. It
is always in your hands for y-ou to start making the most out of these challenges.
This lesson begins with learning to cope with challenges to enhance yourself.
Further on, you'll confirm that you read poems not only for the exploration of
target concepts, but also for enjoyment and for the help it gives you to
und.er stand yourself as well as the people anywhere, anytime. Most importantly,
the enhancement of your communication and literary skills are on top of all of
these. The overriding and underlyrng concepts plus the tasks you'H engage in in this
lesson will surely guide you to answer the BIG
Question:
IIow do I eope with
challenges in life?
YOUR OBJECTIVES
Going through the process of discovering the answers to this essential question,
you are expected to:
make connection between the present text and the previously read text
assess the relevance and worth of ideas presented in the material viewed
draw generalizations and conclusions from the material listened to
use s)monyms of words to clarify meanings
explain how the tone of the poem helps clariff its meaning
use contractions proficiently
make use of lyric poem's feature in an advertising campaign
use effective ways of coping with challenges to enhance one's self
show appreciation for the significant human experiences highlighted and
shared during the discussion
68
Since your direction is clear, you are now ready for
-
a
a
Gf
YouR rNrrrAL rAsKs
fftsil t Twisters
'
Interview three of your classmates as to the questions you have about coping
with challenges.
'
Write at least three (g) questions (in
line with coping with challenges) you
hope to answer later.
work with your peers and reflect on this: what do you consider as your
challenges in life?
Make a list of at least ten
(ro)
challenges experienced by stuilents like you:
copy the chart as shown, and fill it up with the entries called for.
I
59
.
Rankthem in their order of difficulty. Rank t the most ehallenging and 10 as
the least challenging.
.
Ask them to decide what the most effective method of coping with challenges
is.
.
Rankthem in their order of effectiveness. Rank r the most effective and ro
as the least effective.
.
Share your findings with the elass.
TASK 2 Constant Recall
One challenge you need to face is how to unfold and show appreciation for the
meaning of a poem
.
Work in groups of five and think back on the salient points, aspects, and
elements of poetry to be given attention to in unfolding its meaning.
.
Clarify the WHAT, WHY, and HOW of these aspects.
.
Point out which of these elements
(subject,
theme, poetic devices, sounds,
.
tone, significant experience), you have yet
r' to touch on
t/ to explore
r' bunderstand
r' to master
.
Emphasize which ones you nqed to give more attention to.
.
Report your findings in class.
TAsK 3 Make a Synonym Match Challenge
'
.
Fill each blank with a single letter to form these pairs of words into
synonyms. Example:
-ACTUAL
RUE
EACTUAL IRUE
1.
_COLD_HIDE
2.
_EARNING_RAVING
B.
-ALLY-
CORE
4. _AVER_ALTER
5.
-ROLIND-OIL
70
Z.
LIMB
_
SCENT
8.
_TUMBLE_RIP
g._INDICATE_LEAR
10. \^TELLINC
_
BOOB
.
Use these pairs in your own sentences.
TAsK 4 Highlighting
the Focus
euestion
How do I copq with challenges in life?
List logica-l temporary an$,vrs to the foeus
Share yourlist with your
classmates.
a
a
a.. , ,
.
,
..J
question.
TAsK s What Do I Expect, Need, and Hope to Iearn?
Write your targets on what you expect, need, and hope to learn in this lesson.
71
YOUR TEXT
TIISK e Why Not?
.
Pair up and reflect on the following quotations.
. .
Take turns in answering these questions.
r' What does each of the quotations suggest?
. .
.,
r' Do you agree with what eaeh quotation suggests? Why? Why not?
r' What does it take to face life's challenges?
)
;
Share your findings with the rest of the c-lass.
,
Work with a partner and look elosely at this pichrre.
.'
:
Talk about how the picture illustrates the same meaning being conveyed in
the quotations. Relate the two.
a
t
$
s.
ll,ll.t
72
y'
How closely do you think the drawing matches your mental image of
coping with challenges? Prove your point.
t
.
Share your findings with the rest of the class.
rnsx I Meaningful Life
Reflect on these questions:
t/ To what can you compare life?
'
t/ Do words have the power to help a person get through hard/difficult times?
.
Find out how a poem written by Langston Hughes will help you achieve in-
sights about dfficult times.
.
Listen to your teacher read the poern Mothir to Sonby Langston Hughes.
It's high time for you to focus on the context of the poem. Try this.
TASK
g
Small Group Differentiated Work
.
Work in ten
(ro)
small groups.
.
With ylur groupmates, read ttre poem aloud and perform your assigned task.
Gtoup t, Words, words, words
.
As you read the poem,list the word.s that you find difficult.
.
'Share
your findings with the class.
'
Discover how the details in the,poem help a story.
Gtoup 2. Meaningful significant experience
..
When you read a poem, you get to know the experience of other people. Ttris
gives you a better perspective on your relationship with others and how you'll
react to challenges in life.
73
.
Answer the following guide questions
1. Who is the speaker/persona in the poem?
2. To what does the speaker compare her life?
g.
What is the speaker doing?
4.
What kind of stairway is it?
5.
What kind of stairway is the mother's life different from?
6. What does the mother tell her son?
.
Copy the illustration of the stairs as shown and fill it up with entries called
for.
Group 3, Salient
points
.
Discover the answers to these questions.
r' What is the poem aborrt?
r' The poem is divided into thrde parts. Which lines of the poem talk
,
about hardships? Responses to hardships? Mother's advice to keep?
.
Use the following table for your responses.
r' Which is the most interesting phrase in the poem? Why?
r' Which part makes you think of someone in true to life experience?
r' What do you think is the most probable purpose of the writer in writing
this poem?
74
.
Share your findings with the class.
Group 4. Message for you
.
With your groupmates, discuss the answers to the following questions:
r' What poetic devices are used. in the poem?
r' Which one helps clarify the message more?
r' Which part do you like best? Why?
r' What do you think might have motivated the mother to advise her son?
r' Is the message of the poem worthwhile? Prove your point.
r' How important is the poem's message in your life?
r' What have you learned from it?
.
Share your findings with the class.
Group 5.Qualities and attitudes displayed
(Q&A)
.
What approach to life do you think the persona intended to show in
.
the poem? Make a list of them. Plot them in the chart.
Persona's
Attitude Mixture
Good Not Good
"Good
Not Good
r' What new and special way does the poem give you?
r' How will it help you to become a better person?
.
Share your hndings with the class.
.
Group 6. More challenges
.
Talk about how the speaker/ persona feels about the challenges in life.
.
Explain her reactions to such challenges.
.
Point out the lines or phrases that shed light on these.
.
IJse a table like the one shown below for your responses.
Persona's feeling Reason Lines or phrases as
supports
.
Share your findings with the class.
75
Group 7. A key to.,.
.,
l
The speaker's/persona's attitude towards the subject canbe gleaned from the
quality of the language the poet used. This is called the tone which can either
be formal or informal, serious or light. In most cases, tone is suggested by the
quality of the language used by the poet.
.
Choose from the list the tone used by the speaker/persona.
approving admiring , critical fearing playful
mimic
serious light
calm mocking polite angry persuasive envious anx-
ious afraid rnysterious confused triumphant defeat-
ed cynical hopeful defiant hostile sorrowful happy
doubtful forgiving inspiiiniy
Note the words that reflect the poet's or speaker's attitude toward the
subject.
Select a single word
(adjective)
to identify the speaker's tone.
m"m
r' how the tone changes,in the poem's last part
I
r' the effect of the change r
r' the way the poet uses tone to emphasize the importance of coping
with challenges to enfiance one's self.
.
Report back to class.
GroupS. Extended metaphor
An extended metaphor is a feature of a lyric poem that presents comparison
over several lines throughout the poem. Remember that a lyric poem is a highly
oo
PERSONA
\_/
76
musical verse of the observations and feelings of a single speaker.
.
Notice how the speaker or the persona makes many comparisons from
thetrrst to the end line of the poem. Make a list of these comparisons.
Life Compared to
.
Describe what the image of the crystal stairway suggests.
.
Share your findings with the class.
Gtoup 9. Drawing conclusions
.
Discuss which illustrates the persona's state of mind at the end of the
.
Make a list of the choices offered to her.
.
Consider the choice she made. What can you conclude as to the kind of
choice she made?
.
Find evidence to support your conclusion.
Share your ideas with the class.
o
Group 1O. Types of poetry
.
Thinkback and recall the three
(g) tlpes of poetry.
r' How do they differ?
r' Which of them:
expresses vivid thoughts and feelings?
77
.
Mother to Son can be categorized under what tSpe?
:i
r
Recall the other poems you've explored in class and decide to what tlpe
each belongs.
.
Share your ideas with the class.
TASK lO On Using Contractions
A. Find a partner and mull on how the following quotation relates to the message
of Mother to Sonby Langston Hughes.
"Our struggles, efforts to face difficulties in life, sacrifices, charity and
fervent prayers are the seeds of our suceess. To be strong for storms that
last not
fgte'er
as seasons change with God in control keep us standin'."
.
Pay attention to the two underlined words.
l
r' What do they have in common?
t/ What term do we use to identiff the expressions that use apostrophe
in place of omitted letter/s?
""
.
Rereadthe poem,Mother toSonby Langston Hughes andlookfor samples
of poetic contractions
(contractions
used in a poem to syggest a different
culture, language use, etc.).
.
State the effect of these contractions to the tone and message of the poem.
B. To use or not to use...
In five
(5)
minutes, correct each error in
the
use of contraction and possessive
pronoun.
1. Who'se it's author?
I
'
z. Have you accepted they're opinion about coping challenges?
'
g. Ttreir here to demonstrate they're understanding.
4.
Its too late for you to go they're.
S.
They're here to stay and its a.bout time too.
C. Contractions Game
.
Form three
(3) groups and play this game.
.
Write each of these verbs in the index cards or slips of paper. (
will, could,
is, have, do, does, did, can, are, was, etc.), and place the cards or slips of
paper in a pile.
78
.
Take turns in turning each verb into a contraction with the word NOT.
.
Each player tells and spells the contraction aloud, then uses it in a sen-
tence.
.
Players get
5
points for each correct and complete answer.
.
Consider the group with the most number of points as the winner.
D. Try It Out
.
Imagine two personas, poets
(from
the two poems you like or find inter-
esting) meet and have a meal together.
.
Imagine how each one shares their thoughts on how to face challenges in
life.
.
Make up fewlines of dialogue showing their sharing of ideas.
YOUR DISCOVERY TASKS
TASK I'I An Advice
Discuss how to wor\ with a student wh9 has been disappoir-Ited to the
point of disillusionment because of a problem.
What advice would you offer adults who work with young people
like this disillusioned adolescent.
Prepare abrief opal report alooutitt
Share
your ideas with others.
Give comments and suggestions.
{2 Advice Collage
Create a collage based on your chosen lines or images from the poem.
Create photos or drawings that illustrate the message you want to convey.
Design the layout of your collage.
a
TASK
a
a
a
a
a
Itsing your cgmmunication and literary skills learned, try the following.
79
.
Use the internet and other forms of technology to enhance your collage.
TASK 13 Nominee
.
Imagine that an international agency is going to give a Medal of Honor
Award to anyone who is able to inspire a lot of people through his/her
poem.
.
Write a ldtter to the head of the agency and nominate your favorite poet
for the award.
r Remember to highlight the reasons for your choice.
.
Read your letter in class.
TXtlSK {4 Musically Yours
of your understanding of the target concepts and to hone your com-
munication skills?
YOUR FINAL TASK
a
Obviously,
you're all set to try this next phase of the lesson that will show
you how you can present an lnfo-Advocacy Campaign on Using Positive
Ways to Cope with Challenges. The criteria for assessment will be: Focus,
Content, Visuals, Clarity of purpose, and Language convention.
TASK 15 Magic 8
.
Work in groups of five and find out how familiar you are with these MAGIC
8 ways.
>
See hardships as challenges rather than insurmountable obstacles.
>
Focus on the positive rather than the negative effects.
.
Scout for sones that any or some of the following experiences.
.
Play the tape or sing the song.
poverty prejudice loss of loved ones failures setbacks
hope perseverance sound decisions charity
80
> Take comfort in the love and support of the famrly'
chalenles <ir decision made.
> Act and think like what you do makes a difference.
.
point
out which of them you already have experienced as you faced the
challenges of everyday life and as the basis for self-improvement.
.
Jot down
your thoughts about how your experiences have given you a
second chance for self-enhancement.
.
share your,thoughts with your peers, groupmates, and others.
TASK '16
fire Best Info-Ad C4rnPaiSn
.
Imagine that you are a famous or influential
person who
fs
committed to
promote ways to cope
tth
challenges through using all f9r1s of
1$i,a;
,.
you could also ,imagine
ihat you are a government official who will help
in the promotion and information drive to educate and help teenagers in
:
coping wittr challenges.
,
A. Setting UP
.
Set up a special meeting fdr you to brainstorm, discrrss, and decide"qs
the following:
r' Objectives
r' Different Committees
r' Activities
r' Plans
Plan the concept, features, and modes of presenting the Info-Ad'
Prepare the script, technological aids, musical background,
and materials
needed.
Gathering Information
1. Research and gather information about the topic for the ad.
2. Create a questionnaire designed to gather information
you may need about
Programs
you need to
Produce
your major tasks
a
..'
(an
Info-Ad/Advocacy
Campaign on ubing
positive w-ays to cope with challenges )
1.
2.
81
B.
the qualities
and features of an ad campaign that would attract people.
3.Askandanswerquestionsonhowtheywillpresentthead.
4.
Interview groupmates
on the specific topic for the Info-Ad you want to
work on.
6. Decide on
and
choose the most preferled
topic by the majority.
7.
Use note cards for gathered
information.
,
8. Share findingswith the group. ,t
C. Radio Script
1. Prepare a radio script highlighting your
cho,sen magic ways from Magic
8 activity.
2. Focus on the important issues confronting teenagers today.
3.
Choose ttre best ads that present
the concerns of the majority in
the groups.
4.
Analyze the structure, format, contents, sqrle, and strategies used in
the ads.
s.
choose members of the group
who will form the cast,,including the
narrator and the leadingcharacter.
6. Rehearse, polish, record, and share your radio script \,vith the class.
T.
Set time for feedback.
D. Music/Jingle
1. Find and choose contemporary songs that reveal sonle of the same emo-
tions conveyed in the radio script.
2. Share the songs with your classmates.
g.
Talk about how it relates to the message of the radio script.
4.
Record the background music and sound effects that you might use.
5.
Put togefher, relate, and use the musical recordings and the radio script
ready for the rehearsals.
6. Rehearse and shoot for the Info-Ad.
Z.
Conduct peer checking.
8. Present, review, edit, and polish the Info-Ad based on the comments and
82
suggestions made byyour peers.
'
g. Answer the following questions:
r' Are there other changes they want to make on your Info-Ad?
./ Is there anything included that you would like to remove?
r' Is there any information/idea that you need to add?
y'
Are there other changes they thought could have been made?
./ Is there anything included that theywould have taken out?
( Is there any information that they would have elaborated on?
ro. Make the necessary changes and modifications.
E. Presentation
1. Use appropriate technology aids in your oral presentation of your Info-Ad.
z. Present your Info-Ad/Advocacy Campaign on Using Positive Ways to
Cope with Challenges
Post it in your Facebook wall, TWitter, or blog.
Invite the public especially your friends to share their comments and
suggestions through FB, TWitter wall, or e-mail.
Assess the Info-Ad/ Advocacy Campaign on Using Positive Ways to Cope
with Challenges based on the following criteria: Focus, Content, Purpose,
Organization and Developnient, Relevance, Clarity, Style, Impact, and
ICT integration.
YOUR TREASURE
You've learned that in your life's
journey,
simple or complicated changes keep
3.
'4.
5.
83
4.*,itt:
coming. These changes bring a lot of trials or challenges. Sometimes theybring
happiness, at times depression. Just the same, you have to cherish these changes
that bring challenges because they push you either up or down. Hence, you must
react positively
by looking for ways to make your lifp better if not the best.
TASK IZ How are you
doing?
Ttrinkbackonthe
activities, tasksyou'vefinished,
and conceptsyou'velearned.
Reflect on and answer the following questions:
1. What is it that you found most enjoyable and most dfficult in this lesson?
2. How do you plan to do away with these diffic,ulties?
3.
Write at least three (3) possible ways or steps you can adopt for you to
solve these difficulties.
4.
What skills do you hope to improve or strengthen in the next lessons?
Plot your responses in your Learning Log.
84
i
F :
i i
[ i
' l c B l u o c
a d g
p u u
' u o r s s e J d x g
F l c e d
' s a . r n l s a g ' a c t o n ' . , ( r a r u l a q
: e q
1 1 l , t , t ,
] u a l u s s e s s e
J o J B I J a I
- F c e q l p u u
' S u r p e e - r . ( r 1 a o d
B a q
l 1 p v \
1 n d 1 n o
p a l c a d x a r n o d
l u q l
p a p u l l u e r a g
' e s o d r n d
e q l l a 8 u r , u T ; o a c u u p o d t u r e q l S u r l q 8 l q B g w e o d u e s o q c e q l a r o l d
- x e n o d s u p e d o l a z r . e p d l s n o n u p u o c e q u B c s I l H S r f t e ; e 1 t 1 p u e u o l l e c l u n r u r u o c
e 8 u n 8 u e l r n o r ( , v r o q a l u J l s u o t u a p o ] e r e n o . ( ' u o s s e l s $ p u T
l e q l
p e p e d x e s ]
l I
S u r p e a . r , f t l a o d u r s u o r l u o l u o c q c a a d s a , r r l c a g g a p u u e l e u d o r d d e e q ] a s n
S u r p u a r r t r t e o d e . r o ;
l d u c s
B e l u / v \
d l e r r p c a g a $ I r e t u u o l l u l o n b e s n
e I u e q l
e q l o 1 u o t l E l e r u l s u o p r e l e s p a r n l B a l
1 { l l o
s e c u e r a J J l p p u ? s e p l r l l t l l l l : / v \ e r p
p e r \ e r ^ S r r , a - r . . : i l i t ' " " r r t l l : l ' . t ; : l l X ' J : f f i
, x u , f f i : T : : : ;
o l p a u a l s l l u o l l e t u J o J u l
l s e J l u o c
p u e e r e d u r o c
u o l l e l u a s e r d r o u o r s s n c s r p e q l S u u n p ' p a r e r l s
p u e p e l q B H r I S H s a c u e r . r a d x a u e u n q
l u e c g r u 8 r s
a q ] r o J u o q u r c e r d d e m o q s
: o l p e p e d x e a . r e
n o , ( ' u o q s e n b g 1 g o q l o l s r e m s u e a q l S u u a " r r o J s l p S o s s a c o r d a q l q B n o . l q l S u r o g
S I n I I ) : I f g O U f l O A
' a s o d . t n d o
t 4 . t l n 6 u g o 1 7 a u e q l - q n s e q t p u n o r e
e l e l v r u r 8 d g n ; e r o u r a . r o l d x e p u u
l r s l l a r
1 1 n o d
u a o d a q l J o s l u e t u e l e a t { J
' J I a S
e q }
S u r c u e q u g : e t u a q l
l e r a ^ o
a q l S u r u o d d n s s a r l r m l c u p o t J B A e r p q p e l r J e e u o l l u t u
- r o J u l e q l t a q l e S o l e q . ( 1 e . r n l u u
I I I r v r
u o s s a l s F I ] u l u r a 8 e 8 u e
1 , n o d
u o l s s n c s r p a q J
' a r e q s
l , n o d
s u e p r o r p J o a r o c
I e u o r l u l r , n e r 8
e q l s B e l r a s
I I p \
s l q J
a a J I I
u a ^ I r p
a s o d . r n d u e ^ u q
I
u B ,
^ r o H
: u o t l s a n $
C I g
e q J ' s o s s a u { a , v \ p u e s q } S u e r l s
p u o s . r e d . r n o d o l p u a l r t u r u s a 8 u e q c
I B J o r u
p u e
' p u o q o r u a ' l e r c o s ' p c t s , ( q d
J n o
' [ [ B
r e g e
l e e r 8
1 a a ;
n o . , { a { B r u g
^
d e q } , r , r o r 1 p u u n o d r o ;
} s o q
a r u
l e q l
S u r c u a r " r a d x a a r e
n o d s e 8 u e q c e J E e J e q l r ( q , r , r ; l e s r n o r ( . r o ; a o s u e J n o . (
' e u r p
s r q l d q , ( l q e q o r d
l s o 1 4 1
A S N U n O r U n O A
n
D
o
a
a
a
a
a
a
o l
a r
?
l s r
$ d
t u
# f f i s f
!
9 8
i e s o d r n d
B q f l m t u l r r l l
] n o q B
e r o r u / \ o u l l o ]
l u u r . a I
o p
] B r L V t /
; a s o f u n d
B q t r m t u l r r g
t n o q e
r , r o r q , t p e e : p
1
o p
1 r L V t /
; u o q e . u d s u l
r o J p o C s B
[ [ e r \
s B J e q ] o u e e u o o l
{ o o l
p u e q u u e u o
l u e t u a ^ e r r l c B
[ e u o s r e d g o
e c u u g o d t u l e q ] q e ^ a r l e q n o , { o q
, /
; t u o s
e r 1 1 o l S u r p r o c c u a J I I e ^ l [ o 1 [ u m .
] s e q
e q t s r
l e r { l v \ , /
'
e e J I I
r n o d o l e l p l e r e t e s s a t u s . 8 u o s e q l s e o p
^
o H
/
' u r c 1 d x g
i a { o ^ e
S u o s s r q t s a o p u o p o r u e
} E q t \ A , /
,
i
: s u o p s e n b a s e q ] o l s J e , v r s u e e J u q s p u u
l c e g e g
.
' o a
6 u t o g n o 1 a r v a l a q l y l t u o s e q l o f u e l s r . I .
a l o N
, ( q n n
G x s u r
a d q l t n 6 s l s e t t n s
q c u a
t e q / r
q l r m a e r 8 u n o d o q
u o w r u o c , u l e ^ B q d a q t
t e q r r , r
r o J
{ o o l
p u e u e q l e r e d u o 3
s a q B n g
u o l s 8 u u l
- , , ' [ n d
p u e s t e u , ( r u u m o p
] e t I
. q s g
d u u u
J o I I r y
u a s t r q e s 1 J ; 1 1 , ,
u o s u e l e l s s m o 1
U e q o 5
- , , . e J I I J o
p u a d p o
a q l q S u n u o c e q ; o e l q e d u c e J B a l \ {
l u q f i
a r u o J e q o l p u B
, e J B
e , v r
l B r {
a e q o J , ,
.
. s u o l l u l o n b
B u t r r t o l 1 o J e q l p p e g .
a a l n l e
l o o l
n o ^ o G / t 1 o H
X X S U &
' u o s s e l
s l q l J o s a s e q d e q l u o
{ r o / v \
n o d s e s u o q s e n b a s e q } J e q u e u e u
,
i B e r B
s l q l u r a r r o r d u r l o l o p n o d g m
l B q M
e t u e o d
e ; o S u r u u a u a q t B u r p l o ; u n u r a , r u q n o , { o p r u e l q o r d
1 u q 1 1
' S u r u e e u r
s l r p l o J u n o l u a o d u t u r p e e . r e { I [ q
u
s u
l s n l u o l ] B r l s n [ r u p
t r u
d l e s o l c
3 u r 4 o o 1 s B e r u e s a q ] s I c r s n r u o 1 t u r u e l s r l
i i l s n t u
o 1 B u r u a l s l l
J o
p u o J n o . ( e . r y
p a z a a n b s
L x s w J "
a
. '
S X S V I ] V I I I N I U N O A
L 8
' u o p s e n b s n c o J e t p ' o l s r e { s u u ; ( r u r o d t u e l p c t 8 o 1 t s 1 1
A
u o l l s a n o s n ) o l a q l r a q u a u a u s , l s u . I .
t e J I I
u e
I J p
e s o d . r n d B e ^ B r I
I
u u c
^ r o H
: a u o s r q l
l s u p t u
U { c e q c
p u e u o l l s e n b s n c o ; u q r l r r d n a u r o 3
' J e l B [
J a l v r S U B O l
e d o q n o d ( e s o f u n d u q g m . S u r a r l q i l
^
e u q u 1 ) s u o p s a n b ( t ) e e r q l
l s e a l l B
e r l r 6 .
' e s . o d . r n d e
q i l / v r a
u
o l
^ a o q
l n o q B
e r r e q n o d s u o r $ a n b t u q s e u I s u J n l e { B l p u B d n i l e 4 .
' s r e q l o
q i l { s u e p l r n o f a r e q g
:
O
C
e s o d . r n d e q l l r n 6 u ; 4 l t n o q e e ^ e q
I
s u o g p e n !
u o l l s a n b a l o ) f x s u . I ,
8 8
. l u r o d
r n o z ( e l o r d
6 a s o d r n d
q U { a J I I B
t u u r q ; o a t e u r y
l g l u e r u
r n o z ( s a q c l e u r B u u v r u r p e q r
{ u F I I
n o d o p d 1 e s o 1 ,
^ o 1 1
7
e t u u v r e . r p
e q l q p e l s e t t n s s l a J I I u r u o l l B , L r a s q o
[ B r a u e 8 1 e r y y 1 , t
i } u w r u r p
a q l
l E
) t o o l
n o d s e r a q u e u e r n o f o p a J I I u I u o l l u n l l s
l B t I 1 (
p u e r e q u e u e r n o r ( o p o r 1 1 4
, /
' e r n p r d
t u m o l l o ; e q l u o z ( 1 e s o 1 c
4 o o l
p u u d n r 1 b 4 .
a ^ t o s a u , { U t t
g
x g v l '
. s u , o p s e , n !
e s e q l t u p a r v L s u u u r s u r n l e { " I .
r x s r u n o ^
o
' u o s s e l
a q r J o a s u q d p < e u
e { l r o ; f p u e r M o u e r e n o t r
' u o s s a l
s F I l q u r c e l o 1 a d o q . r o
' p a e u
l p e d x a
n o z (
l u q r r a ,
u o s l e t r u l . r n o d e 1 u r 1 , , 1
*
u l e e l o l a d o q J o
, p e e u , l r a d x e
I l e q 1
e u J e a l
o l , o d o H r o
, p o o N , l l e d x f
I
o p
l q q ^ A I X S U I
6 8
' t u l u e a u r
p u e
. 8 u r 1 e a ; . p u n o s ' d a r r u o c
l B q t r
s e u l l p u u
' s e s u t q d ' s p r o r * J o
r s I J
B a { B I A I
.
' s r q t d r ; . ' u r e o d a q l l o
l x e l u o c
a q t u o s n c o d
' ' , ' ' d p u e y s
i l
p B e J n o d s u u a o d a q l p B a J J e t l c u a l r n o d o l u e l s l ' I
'
i e J I I
u a ^ I r p e s o d r n d B e
I I
u e c n o d i v r o r {
} n o
p u g o t r
g r , c ' t t " i
* ^
" T T #
" '
' p a . ( a r 1 1 q c f L r e e p e 3 e
1 t u 1 1 e a l
l c u x e
p u u
, s p u n o s
J B e I c
' s a t u r u r
p v r r , r e q l
' r a 4 u a d s / u u o s r e d
a q r l ( q p e s s e r d x e s e
' 1 e o d
a q l d q
p n r . t r p r o e q r q t n o , r q J . l l u I e J I I " 3 i I e e J " o l n o d - s e , r 1 " r p d p t n l o s q u
l u l l l
? B e r
n o d
u e o d E u I
( a J F I D l n o q u
s 8 u F q u r r o J p u B
' e s u e s ' z f t o l s ' s p u n o s ; o
u o l l B J l s e q c J o a q l
l u q l
/ v \ o D I n o , (
' d l s s e p q n o q ; t u l u u a r u
s , t u a o d a q l o l e l n q l r l u o c d l e a r l u q A
o s u a s p u e s p u n o s
l o
s u o l s n l I x s u l
.
,
, t r l p p o q s n o d ' 1 u 1 o d s F I r
l V
' 1 u 1 o d r n o f a ' r o r 4
6 e s o d . r n d
B q l I M 8 u y { I e t e r l s n f l I , o ]
J o { u y l n o d
u t c s l e n : l r o r { } o
} E I I M , /
4 1 a a ;
n o f a > 1 u u a r n p l d a q ] s e o p i ( o H /
; 8 u u * u r p
s I I r J o u o r s s e r d u r l
I I B r e
o r n o d s r
l E r { M /
U
{
0 6
i - r i r i : i i l r . . , l
t 5
' a J I I J o
U I t
e q l s e t B r q e l e c u a o d e q l l r o r {
' e u o
l u u o r l u l l d s u l
u u s r u r e o d a q t d q r * , l
' a J I I
u l . ( q d o s o g q d r n o d o l
N e s o l c
s B e s o o q a n o , t u o r l e l o n b e q l
' u r e o d
e r $ J o s e u 1 1 . r n o J
N E I
a q l
, , ' l u a s e r d
t u y { e q l q
1 c B ' 1 c y , ,
p u u r u r u o c e q l
' l o u q a g l s d e s r a 4 u a d s e q l
l B r l / r {
E
d n a n g
' u o F l p u o c q c ? e e l B r l s n r u
l B r l r
s e u H e l l a e u
e u B r u
B e l u o c e q o l e u o
- d u u r o ; r e p r o u r r e 4 u e d s
/ u u o s . r a d
e q f d q p a l s a B t n s e r c s u o p l p u o c
t u q l v \ /
a l v r o 1 1 a J 8 u q l
o l t u l p . r o c c u u u t u B e q e u o u u c M o H
/
' 1 u 1 o d . r n o d
e ^ r o . r 4
a l u t u e t u p u a s
p u u B u r g l l d n f l u r o t u u a o d e q l s I
/
; e s o d r n d
J o
, . p u e
p e u p s a p , , J n o $ t u e o d e q l o l t u r p r o c c u
l e r l 1 , \
' s u o p s a n b
t u u , a o l l o y e q t o l s J e / r ^ s u B r n o d s s n a s r g .
= l u e u B u J e d ' O I
p n o " I ' ' 6
e r e a u l s u l
s e ^ o I A I
' 8
. L
Z
d n q '
r t l n g
' 9
u l e y e c u 1
' b
s n o 1 n c l p 5 5
' 6
d u o u r . r u g ' z
u e d 6
' r
= t r y r e e q c
. g
' 8 u p , r o 1 1 o y
e r p J o q c u e o l t u r u u e u q a 4 s o d d o e r u q c r q / v r r u a o d e q l u r s p r o ^ r r o J { o o r l
a l p s o d d o a q l ' , d n a n g
' { s B l
p e u 8 r s s e r n o d r u . r o ; . r e d p u u
' p n o p u e o d e q l p e e r ' s e t r u u r d n o r t r n o f q 4 r t t .
,
' s d n o r t
l l u u r s
( g ) x l s u l
{ r o A
.
l r o n
p o l e r l u a r a # l o d n o r g
l l e u s
6 x s u r
u
f l u
f f i
f f i
: f f
f l
{ i
, I r
Z 6
s l l n s o u
r v r a ; n 4 6 1 , n q J n s - r n o g a l 6 u o 1
e g 1 , u ; l t 1 1 d o s q g q 6
' q l t , r
a e r 8 p
1 o u l q t u u
. r o
l q t r r u
a l d o a d t u n o [ x u r q n o f
=
e J I I J o l v r e l n c l t r s F r n d o p u e t u o r l s B s u q i v r o l l a p u o l , r a o q s ' q
:
l u r l l
u r a o d e r p u l s a u 1 1 e q l
] n o l u r o d /
i l v \ e l ^
t r a n o r n o d q l r r r , r e r e d u r o e e J I l J o , ! r e r ^ s ( M o I I e J B u q I s e o p / r o H
, /
. e e J I I J o
m a r z r t u o r N E s B q m o 1 1 e ; t u o T
l s r t l
e ^ e f i a q n o d . o q
, /
;
a ^ e l l e q
l , g d n o r y
a l F t s s , q u B o a q l
l s p t r u B
s e o r e q s E
l c \ t , /
e ^ B q d a q t
r u q t
a l u q
u o q s
e q t e N u / v r o l
l o u
a 1 d o a 4
, t
p l r o r s F I l
u r $ l r u r u
l u n p a 1 1 e l u l
p u B
, p r o u r , p q p l d s
e { B r u o l
, I A O N
s l
} c p
o l e r u p V
/
l e e J
p u u
l u e
r o d u n , f t o n s B q u u a u o e J I [ e l e r c e . r d d e o t r a n u u u o c p [ n o r { s a 1 o l a 4
/
: s t s e t t n s s e u l e r { l J o q c F l l y 1
!
t
d n a n g
u ! n o r [
v r n d u a o d a $ p o o t u g t l l
a 6 e d a q 1 u o
r e a d d e s p r o i a q 1 A e m a q 1
s s e l r n o p q l s l u r s , u e o d a q g
a
p e J q n s
s 1 ;
u r o o d a H
l o
e B l I
u o q E
e { [
I ] e H r d t
I o q B
{ u p l l , n o f
s a q e u r
{
} B q m '
' t
. : i l f f i : } : : : : : } , -
I I I B I I , ,
T
u r n s r t s l n d u r a o d a q l p o o u r e q l . .
' a
a t u d a t p u o . r e e d d u s p l o m a q 1 l ( e l t ' e q ]
' p
s s e u s n o l J e l s z ( u t
s , r u e o d a q t
' c
1 c e [ q n s
q 1 ' q
r u a o d e q l
. B
-
'
,
; t u Y r t o l l o ;
a q l
I n o q u
e ) u [ n o f l B r l , t r
s e l u u r s s B l c r n o d ; o J n o J r o e e r q l q i l / t , t s s n c s l o
.
l l
a 4 ! l o l l l s u J .
' { p ^ o r d
e
a f r l
t o
u t l t } s d e ! $ q p a s s a . r d x e s e n l B ^ a q t r
'
e r B q s g p s d u p o r ; o a l d o a d e q l o O
4 r u a o d
a q l u r p a s s a r d x a s e n l u ^ e I D e r u
t e t l v \ /
g d n a n g
v 6
. B u o s , a d n a { p e d s
e q }
J o
s p l o / v r
} c , x e r r r r f f i I : l l H : : ; i : ' , 1 ' # l # # r ?
- o n b
' s u r e o d e l p e . r . r u u J o a l l u r u u J p u r d l p p e d s a
, s r u e o d
u r u e A a
r u r n
J o q u e u e u
. Y
q r e w
u o t l e l o n e
6 u ; s p u O
c l r s u r
. l t , t ' o l e q
U e { c
e q l q s r e m s u e m o d
1 o 1 4
.
.
u o s r r u d u r o c
e A r t c e J 3 [ e
M B r p o l n o d
] t g e u e
o l q t n o u e r , B [ I r u l s e r e
l u q l
q u l o d
c g r c a d s e q l e r u d u r o 3 .
l u l o d n a r a p u u
' a u o 1 / p o o t u a q r
' 1 c e [ q n s : s B q c n s , r * ; ; ' J ] # J : [ t $ i : : : f f i
.
' r r t o 1 1 a ; t u o I
q u o ^ s p u 1 1 , f t u e g t q a f i Z { o
t u l D s d y q t l ^ a
l g
e r u d u l o 3 .
' t u p s e r a r u r
p u n o J n o d
l u q l
s s , I c q p a . r o l d x a
n o z ( u e o d r e q l o u ?
I p c e u
.
' r n o J J o
s d n o . r t
l [ B r u s
u l
{ r o l 1 l
.
_ , _
-
.
' o r p e u a l s l l
n o f u o r r B r u r o J u r p u , s u o s r a d
l u e J e J J l p o l u o l ] c , e r
r n o ^ p u B l s r e p u n
n o z ( d l e q u B c s e c u e J e g r p t u u r u t o c a . r
p u B s e l l l r B l l r u l s
t u r y u r g
6 u g } s e , r l u o ) p u e
6 u g , r e d u o )
l l i l s u r
a + ! l u ! p e ^ J e s
- q o q l n J l
; e l e u e 6
r o e r u e q l
a u o l
/
p o o u
o q l
u r a o d a L l I
+ o
e l l t l
, t n l , o q l q t 1 l t , r s t u r p u g r n o f e r e q g
( a 1 1 u ; q P r 1
; e r a u a 6
r o a u a q l
)
p o q e
, l u l r l l n o f s a l e u
i l l e q m
J A q
- u e u a r
n o f s e 4 e u
i l l e q r n
s 6
' B U
- o r
$ I J B t u u o r t r B l o n b t u r s n
s a u r l e s e q l S u q g r * d q t u r d e s s r
l a o d / u u o s r e d
a q ]
l e t f r t
d p c e . u p
U o d e g
' n o d
o 1 3 u q p 1 , t 1 u u o s . r e d s 1
l a o d / u u o s r a d
e q l e u u u r l
q q r e o d e q l u o 4 ( a e r q l
l s u e l l u )
s e u l l B u p s a r a t u t r r p " ; ; f f i I l 5 : i l f f i
'
'
: : i I r '
a Y Y a l o n !
- ' s t u r p u g
r n o d e r c q s p u u s s u l c o l
{ c e q
p o d e S
i $ F e r u
u o l l g l o p b J o s e s n r e q l o e q l e r e
t e t l / v t , /
; ( . , )
s 4 r e r u u o q u t o n b e 1 3 u 1 s
J o
l e s
B e s n e , v t ' o p u e t u v \
/
, J & ' : '
a z ' o u
e s r e l t u o + J e J J I p r o u e s r e l u r s 4 r e u r u o p A r o n b e r l r
J o
s e s n a q l o p i t a o H
/
i $ I r B r u
u o r l B l o n b u t p e s o l c u e e r B
l ? t u \ /
e s e c u a l
- u e s e q l w p a u o q t s o d ( s 4 . r u u r u o q e t o n b e s o l c p u e u e d o ) d e q l e r u e r a r y v l
, /
e z
' d u
a s J e l u I
i r o u
e s J e l u t p e s n $ I J B t u u o q u l o n b a q l a J B i t a o H
, /
: s u o n s a n b
S u u v r o l o ; a q r o r s J e / r s u u r n o d s s n c s l p
' s e l e r u s s e l c
r n o . ( y o J n o J J o e e J r p q l l l A
e o d : u f l V r e 8 p g . ( q o p D r o 1
l A '
: r u o q
. . i o p u r o c I g J o
p u E [ s t q l
- e q u B ?
r l
e r e q a , ,
' e q
p r u s
, , ' t a o p ? q 5 , ,
- ^ . o p e ! { s t u u 8 p d B
l e l u
e H
,
. ' , :
.
u o s u u i a K d [ u g f , q t r a s " o 1 1 : r u o +
. : .
* ' s e 8 e n s s e
e u I J , ,
' d e s
z ( a q ;
a
a
' 8
' z
. I
9 6
.
. . .
,
. q c e a d s
e q l r e l r l e o
. p r B M B
e q l r o J a r u n o f
l r g e l e r 8
i v r o q
l n o q e
q c e e d s B e t u l A
- e l d s u r e r l l r o J p r u l r , r v r o u o H
J o I B p e I A [
a q + E u u u a c a r p o d
e a . r B n o z ( a u t t u r u l
,
u r n l J n o A
g
X S U L
, : , . ; ,
.
i
i
' s s B I C
O f
{ c B q
g o d a y . .
, , ' . : ,
. l q t U l , a u u u l s J a q l o
p u B J l e s J e q f i p s u l q
t r n o q B
S u r q l e u r o s e e s r o t u r q l a u o s
l n o q B a ^ I o s e r , J e q
/ s r q
p e u a q r 8 u e r l s p . r e p u 1 u ,
+ ? q / s H
e t u u q c r r q T * t q e p u t u s e c u e F e d x a
, /
. i
: ,
r e q / u 1 q " q 1 t r v r s s n c s m o l e { 1 1 p p o m n o d s l q t r s u r , /
, u u o s l a d
e q t J o r l c l r l l r a e J p r l s .
. ; ,
1 , .
.
,
' e u o s . r a d
e q t
l e a u
n o d
g u p u r u l
, e l g y o
s d n o . r 8 u l
{ r o l i 1
. :
, e u o s J a d a q i t { r l r v r 6 u ; r e q 5
E x s u l .
' a l q n o r t
t u p u q e r u o r l / v t
a l d o e d 3 u n o , t d l e q u u c u r e o d B , r t o r l u o s l q t n o q l p u B s u e p r e J e q s p u e d n . u e 4 . ,
t \
a ^ u l s
[ ) l s u J .
: t u r i v r o l l o g
a l { t o p o } p e e u n o z (
' t u e o d ' e q r
J p
e S u s s a u e q l u o s e c u a u e d x a r n o d p u u d x a o ;
s ) r s v r A u l r n o ) s t o
u n o ^
. a n 8 o p r p
r n o d u l q r e u r . u o l l u l o n b
a s f l .
,
e n t o p r p
J O u o r l B s r e ^ u o c
a q l ; o d d o c u a n u , \ ^ u
l u a s a r d
p u ? u o l l B s J e A u o c B
l n o l c v
.
' l l
t r n o q B
n o d p u u u u o s J e d / R o d
e q t u o a M l e q u o r s s n c s l p E e t B a . r c .
. e J r I
u e l u p e s o d . r n d B a A B q
0 1 / r o q
r n o q s
? ^ y q
p F o ^ n o d u o p e s r e ^ u o c J a l r q
B e l B a r c
, r e u l J u d
B q u / v t .
,
l l
p l e s
n o ^
. )
L 6
'
I
' a s J ? a q e l
P U E
u B I d
'
l q t n o q r
e q l e l a l d u r o c
o l e u q
l x a u
a q l o u o p e e r
l n q
e s n e d
l l r r g
u o l e l u o c
l o u
o p
' p u a r
n o d u a q 7 6
.
' p n o l
r o ' s o s
i l s u ; ' r v r o l s
" t ' : J r : " T : H : : l : r Y # ; i r l * l " J
;
:
' r g t
g r t u ! f t r s r e q s / a q
l e r p \
p u u r e { B e d s a q t
4 p u e p 1
/
. w e o d
a q l J o d d o c a q l e ^ B q o l p e e u n o f a r e q r r r
l d u c s
S u n l r o m B e { B I u
' p r F i l
'
. s p r o / V t
r B r I I r u B J u n p u B
{ n c u g p
a q l
{ r e q c
o t
l x a t
e q l / v r e l a l ' p u o c e g
.
' i
' u a o d a q l J o
, , e a u e u a d x a , ,
e r { l p u B
. , 3 u 1 1 e a 3 ,
e I I l a r B q s O l e J l s e p I n o z ( ' s l
l e q l
i a s o d l n d r n o f
l n o q u
{ u I I { J
'
'
r . , . - i . l : r i . i
' c 1 1 q n d u r t u r p u a . r d o f u a
o t
l u e , v r
n o f , p u u ' q l u r r u o p c e u u o a B
I e a J
n e i d u r o o d B
P u U
o 1 s 1 q o f $ r g r n o l
.
: s l u r o d t u u r n ' o 1 o ; a q ]
P u 1 u r
u l
d e a 4
l l
r o ; , ( p u e r
t a t
n o d u a t U V I
' 8 u 1 p u a r & l a o d s 1
l n d l n o
p u g r n o f
] B t I ]
r e e l c s t
l I
, '
- . i . $ [ e c u a r p n u . r n o z (
o l e u o s . r a d
/ f a o d
e q l l o a c u e u a d x e a n b t u n
' p u o s r e d ' a l e a p d
e q l a l u c l u n r u t u o C
n o , t u a q i v r s r s n L [ ' t u r p e e r , l e r o q t n o r q t a t u s s a u r s , t u a o d e q ] J o t u l p u u l s r e p u n
r n o z ( e , r o r d u u c d l e r n s n o l
' z ( 1 p r o
1 t
S u t p u e r u a q m e c p s n l t u u u t q t n o r q ] s t
p e . r o l d x e p u e p e e r n o . f , . u r e o d e I F
J o
u o l l u l c a . r d d u r n o f r v r o q s o 1 l ( u m p o o t a u g
) r s v l l v N l J
i e J I I
u a A l r p
J o
o c J e r i l u t s u u e r p o t u o p l o q o r p e p e e u e r e s a p q u n b p u o s r e d q c 1 r y *
/
'
' s l u o t r o s r u u a r P
r n o d t u r n s m d u r o + p a l u e a e r d . e r a m n o , t ; r e { H a q e ; g r n o f
r { t p t I B I I , I \ /
' u r e o d
a q l q m o 1 1 e ; t u o 1 d q u a a f e c l p B a q r f l d d u ; { u u r n o z ( r v t o q
, /
l n o q B
> I I B I
' '
' s a r n l s a t
P u u
l c e l u o c
e ^ ( e
' u o l s S a r d x a
p p u g
' u o r p e f o r d
e c l o l ' t u l s n u d ' E u t s u r q d
p a l J o c e s l l
u n o A
@
a l
a q
J O I
' s s u l c o l
{ c u q
p o d e g .
I r
8 5
a s / u o s s e l u e u
e q l u r u e q l t u a r l s . o ] e d o q n o d o p
] B r l , M
' s a l t l n c s r p
e s a q l e ^ [ o s o l
l d o p e
u u c n o d s d e , r , r a l q r s s o d ( t ) e e r q l
] s B e [ l B
o r l { v l
e s e q p c g r p
e s e q t g t { _ r d e m u o p o l o p n o z ( p l n o m
t u r L 6
. z
i u o s s e t r
s F { l q
} t n c g p t s o n t r
6 a 1 q u , { o t u a t s o r u
p u n o J n o d
1 1 s l } B r L \ {
. r
s u o p s a n b
o s e q l r e . ^ , s u B p u B u o
l c e u e u ' p e u & e [ a , r , n o d s l d e c u o c
. p e q s r u g
1 s n [ a , r , n o d
s { s E l
' s e p y r p c u e q l u o
{ c e q { u H r
' 3 u 1 u r u e 1
p e , ( o [ u a d l m o p q o n o d
. u o s s a l
s $ { r u I
S U n S V S U I U n O A
i l o u
. s s e l c
a q t o t r u a o d e q l p E e U
' s u o . r s s a r d x e
l B r c u d
p u e ' s a r n l s e g
. e c r o n , . & r e r r 1 1 a q
: u r J e l u c a q l d q p e p r n t a g
. 4 J o l r , r .
e q l o 1 B u r u e e u r p p u o 1 e a r o l r n o d ; o e u o ] e q t e B u u q 3
' s p J o n a
a l t u r s t u r p e e J u e q l r e q l B r S u r u e e t u r o J s p J o M J o s d n o . r S p B e u
B u r u u e u
s r r
P u B
l c a f q n s o l u l s s u d e r u m o p
{ B e I s
' u o q u n p ; l : , ; r T ; , J : : ; ; f i , , :
l c u l u o a
e . d a
. s e . r n l s a 8 , u o r s s e r d x a
p r c u g
/
( s s e r l s ' u o l l u u o l u r , t u r s n e d . B u r s e r q d ) d . r e z r q e q
/
( r { c f l d , e u r n l o , r . u o p c e f o r d
d l l p n b ) e c l o 1 , /
: p n o l e u r a o d e q l p e e r n o d s u B I J o U J o e s e q l r e p r s u o 3
. s l u e r u e l o u
r n o d u u 1 4
/
. $ o l
a q l p u B $ r e p u n p u B e z r r o u e t r A l
, t
' v
' t
a
a
a
a
s t ' 6 u z e t u v
A l l n o q e
p q n o f i o p M o H
i s u o n e p t e t f l u o 2
..::
.
Complete the chart as shown with entries called for,
Quarter _Lesson _
Part of the lesson that I consider
Most difficult
Ways to get.
,,,
away with the
most difficult
Hope/expect
to improve/
strCngthen in
the next lesson
CI'
:,J '
i
99
ta
-
,
I
,
D
YOUR JOURNEY
This lesson marks the flrst major stop of your itineraries in Grade
9
English.
Here, you'll d.emonstrate your
understanding of all the importu.rt ,.ti-.orr"""pt,
alongside the essential literary concepts and language communication skills
needed for you to celebrate your self-worth as you positively raise your self-es-
teem. This is made possible
through a speech choir presentation
as evidence of
your understanding.
This lesson is drawn from the baseline celebrating self-worth. In this lesson, you
will be able to explore some important concepts t"uaing;r"ii."rrr*.ment.
Hopefully, through your understanding of the overriding and underlying con-
cepts plus the activities ygu'll
be engaged in in this lesson you'll surely be able
to answer the BIG
Questions:
How can I attain sblf-worth? What does it take
to get the most out of life?
In totality, you'll prove that reading poems can reany help uplift your sense of
self-worth. Parallel to this, taking active control of all the language communi-
cation skills you've learned in this quarter marks your understanding of the
lessons. Hopefully, this cantie demonstrated throujh a very impressivJrp"..h
choir presentation.
YOUR OBJECTIVES
{'
These are your objectives for this lesson.
you
are expected to
draw generalizations
and conclusions from the material viewed
summarize information from the text listened to
prov-e that title serves as a big clue to project
on the meaning of the poem
use definition to arrive at meaning of words
explain how a poem is influenced by culture and other factors
use literary devices and techniques to craft poetic forms
use the appropriate and effective speech conventions expected of speech choir
presentations
100
?.
k.
f*:
;r;t
[.
fs
ts
;-
f
SYouR
lNlrlALrAsKs
ftsk I Something Special Game
.
Form two big groups.
.
With your groupmates
y'
recallthe poems you've explored in class.
y'
select lines that you found special, something new, or that affect your
attitude in life for you to become a better person.
r/ write these chosen lines from the poems on slips of paper and drop them
in the designated special box
.
Draw lots on which group will be the first to read the chosen lines and share
your ideas about them.
lessons from week r to 8.
Take turns in sharing insights.
For three
(3) minutes, share your insights.
Allot five
(S) points for each sharing.
I
The first group to come up with the most number of points vvins.
T:ask'2 Here and Now
.
Reflect on the recent issues that we need. to attend to.
.
Decide which of them can be solved through your understanding of the con-
cepts revealed in the previous lessons. Whictr of these concepts do you need
more to help solve these problems?
u
t.
t-
e
e
f
e
I
a
a
a
a
.
Recall and use everything yorii"urrred about enhancing yourself from the
10I
Ihsk r Dignity Delight
what do you do to celebrate seH-worth?
you
buywhat you want, take a trip
to the mall, stroll in the park
or seashore, or hanj out withyog f.i".rd, doing
things you like to do.
Draw a picfure
of the ways you celebrate your self-worth.
Use creative ways to show them in your
drawing.
work with a group of your
classmates and cornpare your ideas about the
wal you celebrate your self-worth. How closely do you think these drawings
match your
mental image of celebrating self-worth?
prove
your point.
Share your group's ideas with the whole class.
lhsk C Getting the Most Out of Life
.
Form a threesome and take a good look at this picture.
.
Use the following guide questions.
y'
Does the drawing answer the question:
what does it take to get the
most out of life?
what general truth in life comes to your
mind as you see
this
picture?
How closely do you think the drawings match your mental image of cel-
ebrating self-worth? Prove your point.
what details of the picture
suggestthe importance of attaining self-worth?
a
a
. .Talk
about what it communicates to you.
r'
r'
r'
102
trip
ring
l
the
r8s
re
a
a
y'
Howwell doyouthinkthe drawings fitthevalue of celebrating selfirys662
/ What is your overall impression of this drawing?
l
y'
, How does the picture make you feel about self:worth? ,,
,
r'
y{hatothervisuals
can you think ofto illustrate your sense of self-worth?
Prove your point.
At.r ten minutes, convene and keep a record of these findings (in line with
;
celebrating self-worth).
Share your findings with the class.
Find common ground about your ideas
T sk 5 Focus
Question
Remember the focus question: How can I attain selfrworth?
l:\
Thrk 6 Setting Expectations-
fuiswer this question: What do I,e-xpect or,need or hope to learn?
. '.";.
.
Write yourtargets on what you eipect or need or hope to learfi in this lesson.
List logical temporary answers to
You are now ready for the next phase of the lesson.
103
YOUR TEXT
Whatever direction you take in life, you need to follow certain guide posts to
reach your destination.
'
Draw and label a stairway, road, or path that reflects your life or your family's
struggles.
.
Use the following qrrestions
to guide you.
r' Arethere twists and turns in
jrour
life? How will you present
them?
r' Whatare they?
r' Are all 16" steps of the same height? Why or why not?
r' Is part of this stairway, road, or path in the past, present, or future?
r' How are the parts different?
r/ which part in the past, present, or future represents your or your fam-
'
ily's self-worth and which are the parts you celebrated or woota Uk" to
celebrate?
.
Write a short description of what you d.rew.
.
Share your work with the class.
Thsk I A Time to Proiect
.
Read and focus your attentioR on the title of the poem
f
by Rudyard Kipling.
'
To illustrate the importance of celebrating self-worth, the poern
{fprovides
cherished pieces of information which are clearly conveyed.
.
Express your thoughts and views on what the subject of rn" poem would be.
I think the poem If by Rudyard Kipling would be about
104
its to
rily's
I
[am-
re to
ling.
ides
lbe.
_-
Tlaskg AGolden Door
.
Form a small
group of three and take turns in sharing your thoughts, feelings,
and experiences that relate to the following quotation.
.
Share your findings with the rest of the class.
I'lask fO What's it?
.
Find out how the poem
ff
written by Rudyard Kiplirtg will help you achieve
more insights on how to make lifebetter if not the best.
.
As you listen to your teacher read the poem If, read,it silently and watch out
for words which are diffrcult for you to understand.
105
By now, you have developed
a variety of strategies to help you figure out the
meaning of unfamiliar words
When you find hints to the meaning of a word in the words or sentences that
surroun-d it, you know you have context clues. These context clues can help
you expand youq
vocabulary all the more. ,
one simple strategy is through definition or restatement clues. Here, you
must watch out for words like or, that is, in other words, also called as
that often signal definition or restatement.
105
iil
l
i
iil
:!i
;
t
lll
?astr m Vocabulary Game
.
Form two
(z)
big groups.
.
Go over your list and find out which of them are clearly described by the
following definitions.
1. It means "misfortune" or "bad luck."
2. In other words, they are your "enemies" or "opponents."
3.
It means
"stack" or "bundle."
4.
They are called "pretenders" or "fakes."
S.
They are also called the "playing cards."
6. It means "strength.
T.
This means " to bow" or "to bend."
8. It is a " trick" or "setup" or "deception."
9.
This calls for "good qualtty" or "morally good."
rO.In other words, these are your "achievements," "accomplishments," Or
"successes."
.
Take turns in identifuing each of these words in a minute.
.
Each correct answer will be given a corresponding
point.
.
The group to come up with the most number of points wins.
riark {2 Small Group Differentiated Works
(SGDW)
.
Read the poem once more to find its meaning.
.
Remember tha[the poem is divided into four parts. Find out how each part
suggests something or someone in real life.
'
.
Pick out lines that clearly suggest such.
.
Complete the following table with entries called for.
Part of the poem What it suggests Words, phrases, or lines
that clearly suggest
107
Group 2. Always do the positive
The poem
sets conditions that serve as positive
signs for success or attainment
of self-worth. check out which of these signs are conveyed in the poem.
.
Discuss by specifiring which part, stanza, or lines clearlypoint out each pos-
itive sign.
'
Talk about which of them you agree or disagree with. Explain.
.
Share your ideas with the class.
Group3. Firming up the value of self-worth
.
Answer the following guide questions:
rz which part makes you think of someone or something in real life?
r/ What kind of roadmap in life is conveyed in the poem?
r' How can one be a man according to R. Kipling?
r' Whatconditions
are stated in each stanza?
108
r' Is the message of the poem worthwhile? Prove your point.
r' How important is the poem's message in your life?
Group 4, Summarizing
o
Think back on what you usually do to summarize points in a text you read or
ideas you listened to. Giving the summary helps clarify your understanding
of the key information in a reading or listening or literary piece. When you
, summarize,yortcondense the ideas you read or listened to. As you summarize
you restate the main ideas and the most important details in a fewwords and
sentences.
.
LJse the following questions'as your guide:
r/ What have you learned from it?
r/ What approach to life do you think the poet intended to show and share
in the poem?
r'
r.lvhatnew
and special way does the poem give you of enhancing yourself
that can be celebrated?
.a,
r' How will it help you to become a better person?
Yas$s ruB On Using Ellipsis
A. Ellipsis is also a part of everyday conversation. It's normal that one speaker
may cut offwhat he/she is saying, another speaker may trail off, or his/her
train of thought may wander. The use of ellipsis makes the conversation
natural and realistic even in poems.
.
Look closely at the following Info-Ad.
a
'iill
ii
il
i
,ii
{
Are you going to
ioin
our Speech ornd I)ranna Club?
Experience challenges
. Share
Aour
talents ... r
Be a part of our grou7.
Aaaahhhh ... you're interested
Yippeee ...We canhelp. Pls. ContactAnne at o9t6-..
What is the ad all about?
What is common to these expressions?
t. Share your
talents ...
z. Aaaahhhh ... you're interested
3.
Yippeee ... We can help.
What name do we give these puncfuation
marks?
Remember that ellipsis (...)
are punctuation
marks that are used to show that
something has not been expreSsed. It usually indicates any of the fotto*rrg,
.
Words that have been left out of a quotation
'
.
Words that are being thought Ofltrstead of spoken.
.
d series that continues beyond the items mentioned.
.
Time passes
or action occurs
ini4rnarration.
A. Markit right!
choose the blank that marks the best plaqe to insert ellipsis points.
'
1. "The intellect, seeker of absolute truth_or the heart lover of_
absolute good
we awake
-"
by Ralph waldo Emerson
2. "Time is a test of trouble but not a remedy
_,,
by Emily Dickinson
3.
Time never assuage- an actual suffering strengthens
.
as
sinews do with age
_"
by Emily Dickinson
4.
"Yet if we could scorn, hate and
: pride and fear: If we were
things born not to shed a tear_" by
percy
Bysshe Shelley
5.
"Rise in the spiritual rock
-
flow through our deed'and
_
make them
pure_ " byAlfred [,ord Tennyson
B. Insight
'
Share your insights on your most liked poem bywriting them down. Illustrate
at least two (z)
of the ellipsis rules in your work.
Find a partner
and exchange papers.
.
Comment on each other's work.
a
a
110
C. Best ofRoundup
.
Talk about your family, your friend, your classmate, and yourself.
.
List special abilities that you, your family, and your peers have as well as the
reasons why you feel great because of them.
.
Present a write up of this sharing.
.
Remember to use ellipsis whenever necessary.
D. Ellipsis Patrol
.
Find a stack of old newspapers and magazines. Scout for and choose articles
ofyour interest.
.
Look for and encircle all the ellipsis used in the articles.
.
Discover who in the class can n1,g tfre most number of articles with ellipsis.
At this stage, you should have several"i.ndpfessive ideas on why you need to cele-
brate self-worth. Eventually, you are ready to prove your understanding of how
this valued concept can be realized through getting involved in real-life tasks
like that you'll activate on...
t;."' ;
eyouR
DrscovERy rAsKs
Esk r* The Big Four
.
Form four (+)
big groups and choose one from the following tasks to work
on.
.
With your groupmates, discuss howyou'll squarely come up with any of the
following.
Group 7. Anadvice poem
.
Write a poem that offers advice to a friend, relative, classmate, schoolmate,
or someone else.
t
i
.
IJse thesewords and phrases in any order.
:];
,i:
tli
ill
'll
.ii
il
y'
Remember
r'Do
/ Seek
y'
Forget
y'
Do not
/ Watch out for
,il
irt
.
,li
Remember to use rhyme, rhythm, repetition, and imagery in your poem.
r,. "
111
Group 2. Advice column
'
Read advice columns from newspapers,
magazines,
or comics.
Look
it
p-"1:
littloaras,
email ads, posts
on FB or Twiner, listen to the'radio,
or wdtch TV talk shows or TV commercials
that persuade
people
to do or not
to do something in order to celebrate self-worth.
.
Look for advice for those who have problems
with their self-worth. uvrr vV Vt Lll.
.
Collect them.
,r
.
p4c\agge yplrr, qlfec,tion
with,Iour groupmates.
,
.
:,Notqtheqwords you read or hgar and imagbE
that
you
see. How do the ads
persuade you? ,
., .,i .
' .
Find out if humor is used in the ads.
'
watch out for what these pieces
of advice'have
in common.
.
Report your findings to other groups.
Group 3. Look up the hero
'
Choose your
most remembered poet/persona
in your favorite poem
and use
him/her as your
role model in life.
.
:
'
Write abouthis/heroutstandingtrait
orattihrdethatisworttrytofolloworpraise.
'
Remember the lines conveying such trait or attitude and use them as possible
words of wisdom
.
Share your
thoughts with the class.
Group 4. Mqsical beat
:
-alg":","
song (rap, pop, rock, ethnic, classical, country, religious,
etc.).
.
Match it with your
favorite poem.
.
'
Try writing new words (expressing
your ideas on how to celebrate self-worth)
to go with the music,.
,' ,
use rhgnes, repetition, imagery, figures of speech, and rhythm.
.
Try singing it to class.
112
q
f
b
@YouR
FTNALTA'K
Finally, you are rgady to try your hand at your majortask for the first quarter: a
speech choir presentation. Have you ever wanted to be on stage while you're
with a group reciting a poem? Here's your chance.
Luckily, yoqwiJl perform withyour classmates, in a
gpeech
choirpresentation.
Remember, you have everything you need to come up with a very impressive
performance. For you to make it as best as you can, you must undergo a process.
Here are some grand ideas for the performance of your speech
choir presentationr Look ttrem over before you plunge into it. Keep
these points in mind as you go through ttre process.
A. connect
ri
+j 1
).
.
Form three big groups
or,y
.i,l
.
From the poems you have explored in class, choose one that
y'
interests the majority of the group members;
y'
is most liked;
'tl
1'
r' you feel a close connection with;
r' you want to read; and
y'
youenjoy reading in public.
.
Decide which poem is the bestfor speech choir presentation.
B. AWorking Script
Have u
:opy
of the poem and use it as a working script where you'll
/ underline the parts you find most dramatic like words, phrases, images,
sounds, and rhythm.
{
.
r' mark the parts where you'll go slowly, speak up, or pause.
r' donot end with a line but with a punctuation mark.
r' make notes describing the speaker/persona and. characters and consider
his/her
'
age
'.'i
feeling expressed in the poem ( Is there a change in his/her feeling as
the poem goes on?)
/ clatit*the tone
(thoughtful,
ten-der, serious, sarcastic, sad, happy) you'll
i
convey.
l{
I
113
/ decide
.
whether the poem should be read by:
-alternating
lines
-several
voices or single voice
.
how you will use your voice to convey your
tone and
.
what single impression you want your audience to get from your
reading.
.
Plan your movements.
r' Specifu the posture
and the movements thatwill be used including
the entrance and exit.
, , , i y' .,Aet
brit some par,,tS"ediiecially
thekey parts of the poem.
' .
'
Decide on and be ereative'in your choice of props,
costumes, scenery
sound effects, or othbr fdtms of musi'cal background.
D. Rehearse, Rehearse, Rehearse!
.
Read according to punctuation;'
.'
'
Break down Iong s6ntences lnto subject and their meaning.
'i
Readgroup of words for meaning rather than reading single words.
'
Don't.come to a full pause but read on to the next line to complete the
thought.
'
Read with expression. (Change
the tone of youqvoiee
to add meaning
to the word.)
I
'
IJse the tone of your voice, eye movement, facial expressions and
minimal gestures to emphasize keywords and phrases.
.'
Read aloud into the tape recorder and listen to it to note accuracy and
expression
'
Read aloud and share feedback with a partner first then with the rest
ofthe group.
'
As you rehearge, you
must be open for comments and suggestions for
improving your performance.
114
Li
a
a
Have eye contact with your audience.
consider and be guided
by the following criteria in your speech choir
presentation.
t/ Delivery (phrasing, pausing, intonation, stress)
y'
Voice (qualrty, projection, volume, pitch, and tone)
/ Bacialexpression, eye contact, gestures
y'
Choreography(movement)
y'
Costumes, props, background music, and sounds
Checkyour progress.
OYouRTREA',RE
For your first quarter final appraisal,
it
is"safe to integrate and weigh the concepts
you've learned and the skills you've developed in the course of the first quarter.
Again, it is timely for you to think bftfik, reflect, and focus on the following es-
sential points that you
.
enjoyed
found helpful
would like to work on further
',' -'
Keep a r-ecorg of all,of these and add your answers to the following questions.
,
r.,
What
di4 you find most difficult in this lesson?
2. What would you do to overcome these difficulties?
''
g.
write at least (B)
three possible ways that you can adopt to solve them.
a,
a
115
fr^
I
rl
!
What do
you
hope
to
strengthen in the next lesson/s?
',
Complete the chart aq shmryn with entries ealled for.
Part of the leaqgn that
I eqffi..
eh,h
I ffiidr
'
Itelpful
leqtlids!
most
difficult
sugscsts
waysto
get
away
with the
most dffi-
cult
I hopef
expect to
improve/'
strengthen
in,the next
lesgon
lwould
like to
work fur.
ther on
trii
I
fta
, 116