Literary Genres in Creative Nonfiction: A Grade 12 Module, Assignments of English

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Creative Nonfiction

Quarter 1 – Module 1:

Identifying the Elements of the

Literary Genres

English – Grade 12 Alternative Delivery Mode Quarter 1 – Module 1: Identifying the Elements of Literary Genres First Edition, 2020

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Published by the Department of Education Secretary: Leonor Magtolis Briones Undersecretary: Diosdado M. San Antonio

Printed in the Philippines by ________________________

Department of Education – Region VII Schools Division of Negros Oriental

Office Address: Kagawasan, Ave., Daro, Dumaguete City, Negros Oriental Tele #: (035) 225 2376 / 541 1117 E-mail Address: [email protected]

Development Team of the Module Writers : Shenna Marie E. Rubia, Cris Dyan R. Abarca and Jay E. Villareal Editor: Jessie Lou L. Ecleo Reviewer: Jessie Lou L. Ecleo Illustrator: None Layout Artist/Typesetter: Josephine V. Austero Management Team: Senen Priscillo P. Paulin, CESO V Rosela A. Abiera Fay C. Luarez TM, EdD, PhD Maricel R. Rasid Nilita l. Ragay EdD Elmar L. Cabrera Adolf P. Aguilar Anna Lee A. Amores, EdD

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Introductory Message

For the Facilitator:

Welcome to the Creative Nonfiction 11/12 Alternative Delivery Mode (ADM)

Module 1 on Identifying the Elements of Literary Genres!

This module was collaboratively designed, developed and reviewed by educators

both from public and private institutions to assist you, the teacher or facilitator in

helping the learners meet the standards set by the K to 12 Curriculum while

overcoming their personal, social, and economic constraints in schooling.

This learning resource hopes to engage the learners into guided and independent

learning activities at their own pace and time. Furthermore, this also aims to help learners acquire the needed 21st century skills while taking into consideration their

needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of

the module:

As a facilitator, you are expected to orient the learners on how to use this module.

You also need to keep track of the learners' progress while allowing them to manage

their own learning. Furthermore, you are expected to encourage and assist the

learners as they do the tasks included in the module.

For the learner:

Welcome to the Creative Nonfiction Alternative Delivery Mode (ADM) Module 1 on Identifying the Elements of the Literary Genres!

This module was designed to provide you with fun and meaningful opportunities for

guided and independent learning at your own pace and time. You will be enabled to

process the contents of the learning resource while being an active learner.

This module has the following parts and corresponding icons:

What I Need to Know

This will give you an idea of the skills or competencies you are expected to learn in the module.

“The beautiful thing about learning is

that nobody can take it away fr om you.” -

B.B.King

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What I Know

This part includes an activity that aims to check what you already know about the lesson to take. If you get all the answers correct (100%), you may decide to skip this module.

What’s In

This is a brief drill or review to help you link the current lesson with the previous one.

What’s New

In this portion, the new lesson will be introduced to you in various ways; a story, a song, a poem, a problem opener, an activity or a situation.

What is It

This section provides a brief discussion of the lesson. This aims to help you discover and understand new concepts and skills.

What’s More

This comprises activities for independent practice to solidify your understanding and skills of the topic. You may check the answers to the exercises using the Answer Key at the end of the module.

What I Have Learned

This includes questions or blank sentence/paragraph to be filled into process what you learned from the lesson.

What I Can Do

This section provides an activity which will help you transfer your new knowledge or skill into real life situations or concerns.

Assessment

This is a task which aims to evaluate your level of mastery in achieving the learning competency.

Additional Activities

In this portion, another activity will be given to you to enrich your knowledge or skill of the lesson learned.

Answer Key This^ contains^ answers^ to^ all^ activities^ in^ the module.

At the end of this module you will also find:

References This is a list of all sources used in developing

this module.

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CO

NTENT PAGES

TITLE PAGE ------------------------------------------------ i

INTRODUCTORY MESSAGE ------------------------------ --- ii For the Facilitator --------------------------------- ii For the learner ----------------------------------------- ii

WHAT I NEED TO KNOW --------------------------------- 1

Learning Competency --------------------------------- 1 Learning Objectives --------------------------------- 2

WHAT I KNOW ------------------------------------------------ 2

WHAT’S IN ------------------------------------------------ 3

WHAT’S NEW ------------------------------------------------ 4

Task 1 ------------------------------------------------ 4

WHAT IS IT ------------------------------------------------ 4

WHAT’S MORE ------------------------------------------------ 7

Task 2 ------------------------------------------------ 7

WHAT I HAVE LEARNED --------------------------------- 8

WHAT I CAN DO ---------------------------------------- 9

Task 3 ------------------------------------------------ 9

ASSESSMENT ------------------------------------------------ 10

GLOSSARY ------------------------------------------------ 11

ANSWER KEYS ------------------------------------------------ 12

REFERENCE LIST -------------------------------------------- 13

TABLE OF CONTENTS

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What I Need to Know

At the end of the module, you should be able to:

Knowledge : Distinguish the literary elements

Skills : Identify the elements in the short story, Karma

Attitude : Value the importance of the literary elements by telling and analyzing the theme in the text

What I Know

Below are questions that you need to recall and reflect upon your

previous learning.

1. Have you read short stories?
2. What is your favorite short story?
3. Can relate briefly on is it all about?
4. Are you familiar with the elements of it?
5. What are the elements of a short story? Can you name them?

Okay! You got it! Now are you ready to proceed to our next activity?

What’s In

Activity 1

Below are words that can be found in the story. Identify the meaning of the italicized words by writing the letter on your answer sheet/notebook.

1. The red oxide at its back had come off at several places and long lines of translucent glass cut across its surface. a. reflect b. glowing c. dirty d. indifferent
2. Sir Mohan sank into a large cane chair to drink and ruminate. a. reflect b. talk c. think d. sleep
3. He is a vizier and a barrister and meets so many officers and Englishmen in the trains—and I am only a native woman. a. teacher b. tutor c. lawyer d. politician
4. The arrival of the train did not disturb Sir Mohan Lal’s sangfroid. a. personality b. attitude c. charisma d. self-confidence
5. Lady Lal rested her chin on her hands and sat gazing idly at the jostling crowd on the platform. a. pushing b. shouting c. talking d. laughing

WHAT I NEED TO KNOW

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coolie. She sat down on her steel trunk (which the coolie had put down) and started talking to him. ―Are the trains very crowded on these lines?‖ ―These days all trains are crowded, but you’ll find room in the zenana.‖ ―Then I might as well get over the bother of eating.‖ Lady Lal opened the brass carrier and took out a bundle of cramped chapatties and some mango pickle. While she ate, the coolie sat opposite her on his haunches, drawing lines in the gravel with his finger. ―Are you traveling alone sister?‖ ―No, I am with my master, brother. He is in the waiting room. He travels first class. He is vizier and a barrister, and meets so many officers and Englishmen in the trains—and I am only native woman. I can’t understand Englishmen in the trains—and I am only a native woman. I can’t understand English and know their ways, so I keep to my zenana inter- class.‖ Lachmi chatted away merrily. She was fond of a little gossip and had no one to talk to at home. Her husband never had any time to spare for her. She lived in the upper storey of the house and he on the ground floor. He did not like her poor illiterate relatives hanging around his bungalow, so they never came. He came up to her once in a while at night and stayed for a few minutes. He just ordered her about in anglicized Hindustani, and she obeyed passively. These nocturnal visits had, however, borne no fruit. The signal came down and the clanging of the bell announced the approaching train. Lady Lal hurriedly finished off her meal. She got up, still licking the stone of the pickled mango. She emitted a long, loud belch as she went to the public tap to rinse her mouth and wash her hands. After washing she dried her mouth and hands with the loose end of her sari, and walked back to her steel trunk, belching and thanking the Gods for the favour of a filling meal. The train steamed in. Lachmi found herself facing an almost empty inter-class zenana compartment next to the guard’s van, at the tail end of the train. The rest of the train was packed. She heaved her squat, bulky frame through the door and found a seat by the window. She produced a two-anna bit from a knot in her sari and dismissed the coolie. She then opened her betel case and made herself two betel leaves charged with a red and white paste, minced betelnuts and cardamoms. These she thrust into her mouth till her cheeks bulged on both sides. Then she rested her chin on her hands and sat gazing idly at the jostling crowd on the platform. The arrival of the train did not disturb Sir Mohan Lal’s sangfroid. He continued to sip his scotch and ordered the bearer to tell him when he had moved the luggage to a first-class compartment. Excitement, bustle and hurry were exhibitions of bad breeding, and sir Mohan was eminently well-bred. He wanted everything ―tickety-boo‖ and orderly. In his five years abroad, Sir Mohan had acquired the manners and attitude of the upper classes. He rarely spoke Hindustani. When he did, it was like an Englishman’s – only the very necessary words and properly Anglicized. But he fancied his English finished and refined at no less a place than the University of Oxford. He was fond of conversation, and like a

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cultured Englishman, he could talk on almost any subject—books, politics, people. How frequently had he heard English people say that he spoke like an Englishman! Sir Mohan wondered if he would be traveling alone. It was a Cantonment, and some English officers might be on the train. His heart warmed at the prospect of an impressive conversation. He never showed any sign of eagerness to talk to the English as most Indian did. Nor was he loud, aggressive and opinionated like them. He went about his business with an expressionless matter-of-factness. He would retire to his corner by the window and get out a copy of The Times. He would fold it in a way in which the name of the paper was visible to others while he did the crossword puzzle. The Times always attracted attention. Someone would like to borrow it when he put it aside with a gesture signifying ―I’ve finished with it.‖ Perhaps someone would recognize his Balliol tie which he always wore while traveling. That would open a vista leading to a fairy-land of Oxford colleges, masters, dons, tutors, boat-races and rugger matches. If both The Times and the tie failed, Sir Mohan would ―Koi Hai‖ his bearer to get the Scotch out. Whiskey never failed with Englishmen. Then followed Sir Mohan’s handsome gold cigarette case filled with English cigarettes. English cigarettes in India? How on earth did he get them? Sure, he didn’t mind? And Sir Mohan’s understanding smile—of course he didn’t. But could he use the Englishman as a medium to commune with his dear old England? Those five years of grey bags and gowns, of sports blazers and mixed doubles, of dinners at the inns of court and nights with Piccadilly prostitutes. Five years of a crowded glorious life. Worth far more than the forty-five in India with his dirty, vulgar countrymen, with sordid details of the road to success, of nocturnal visits to the upper storey and all-too-brief sexual acts with obese old Lachmi, smelling of sweat and raw onions. Sir Mohan’s thoughts were disturbed by the bearer announcing the installation of the Sahib’s luggage in a first-class coupe next to the engine. Sir Mohan walked to his coupe with a studied gait. He was dismayed. The compartment was empty. With a sigh he sat down in corner and opened the copy of The Times he had read several times before. Sir Mohan looked out of the window down the crowded platform. His face lit up as he saw two English soldiers trudging along, looking in all the compartments for room. They had their haversacks slung behind their backs and walked unsteadily. Sir Mohan decided to welcome them, even though they were entitled to travel only second class. He would speak to the guard. One of the soldiers came up to the last compartment and stuck his face through the window. He surveyed the compartment and noticed the unoccupied berth. ―Ere, Bill,‖ he shouted, ―one ere.‖ His companion came up, also looked in, and looked at Sir Mohan. ―Get the nigger out,‖ he muttered to his companion. They opened the door, and turned to the half- smiling, half-protesting Sir Mohan. ―Reserved!‖ yelled Bill.

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6. Based on the story, how would you define Karma?

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You got it!

Before we start with the discussion, let me ask you these questions:

1. What disposition/mood is evoked in the opening paragraphs of the story?
2. How did the author present the unexpected turn of the main character’s fate and the inevitable outcome of his actions and thoughts?
3. As such that Singh is called a ―brilliant incisive/insightful writer,‖ how did he depict unhappy married life and gender discrimination? Pick lines from the story to support your answer.

What’s Is It

These questions will lead us to our discussion. We will unlock the answers of these questions as we move on. The literary model under consideration is an example of a short story under fiction. It was published by Kushwant Singh in 1989 under his work The Collected Stories. It tells the story of an Indian man educated in Europe who tried to adopt an upper English culture. He was introduced as someone who is ashamed of his Indian heritage as he tries to speak British official. The most important event happened when he and his wife travelled by train and he tried to impress British soldiers through his Englishman sangfroid but ended up being thrown out of the train. The story contains the literary elements or the necessary constituents or smaller parts of a literary piece. They are the features of any spoken or written literature distinguished by literary techniques. These elements help in the discussion, understanding, and appreciation of a work of literature. They are embedded in the author’s craft and understood and appreciated by the readers through critical analysis. In essence, literary elements deal with the W’s and H of literature.

The plot tells what happens in the story. It relates the chain of events through different stages revealed in the story arc: exposition or the beginning where the conflict is introduced; rising action or the actions leading to the climax, pivotal or turning point of the story; denouement or falling action and ending or resolution. In our discussion, let us use Karma, by Khushwant Singh as our literary model.

Going back to the literary model, Karma, what is the plot of the story? Can you give the plot of the story?

Plot : __________________________________________________________

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Character refers to the person in a work of fiction and his

characteristics. He/she could be a protagonist or the opposing character to

the main character. Characterization gives the reader details about the

characters involved, which include physical appearance, way of thinking,

feeling, actions, and reactions to events. Moreover, characters, to be

effective, should resemble real-life persona who can be complex, dynamic, or

stereo typical. Furthermore, a foil is written in contrast to the main

character.

How will you describe the characters in the story? Can you tell the appearance, way of thinking, feeling, etc. of the characters in our story?

Characters:

Sir Mohan Lal ___________________________________________________________________________

Lachmi/Lady Mohan ________________________________________________________________________

Soldiers __________________________________________________________________________

Theme is the central idea of a literary work that can be termed as

implied morals, insights, or values. It is not intended to preach or teach but

it is something extracted from other literary elements and techniques like

the structure, plot, characters, style of narration, patterns, and symbols. In

short, theme is the underlying truths and realities of life consciously and

unconsciously created by the author and realized by the readers.

What is the theme of the story? Can you tell it?

Theme: ___________________________________________________________________________

Setting pertains to the place, time, mood, atmosphere, weather, and social conditions of a story. Authors use sounds and visual images to describe the setting. The setting helps bring out the mood or backdrop or sets forth the conflict in the story. Setting could be dynamic or static. A dynamic setting refers to a varied story ―world‖ or milieu which includes varied cultural, historical, geographical surrounding or society. Static setting is the opposite, because it presents a stationary, still or solitary backdrop of the story. The literary model is an example of a static setting since the backdrop is only in a train.

Can you tell the setting of the story?

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What’s More

At this time, I want you create your own story based on your own

experience. Cite examples on the elements on your story. Write your

example in your notebook.

Characters

Settings

Plot

Conflict

Point of View

Theme

1. From the examples of what you have written above based on your own experience, develop that into a short story.
2. Going back to the story, Karma, what is the theme of the story? How does the writer present the theme of the story?
3. Compare and contrast the two persons in the story. Write your answer in the space provided.

What I Have Learned

Answer briefly the questions below. Write your answer in your notebook.

I have realized that ________________________________________.

I will apply _______________________________________________.

What I Can Do

Answer briefly the questions below.

1. Going back to the story, Karma, what is the theme of the story? How does the writer present the theme of the story?
2. Compare and contrast the two persons (Mohan Lal and Lachmi) in the story. Write your answer in your notebook.

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Assessment

Identify the statement in each number. Write your answer on your activity

notebook.

1. They are the features of any spoken or written literature distinguished by literary techniques.

2. Refers to the central idea of a literary work that can be termed as implied morals, insights, or values.

3. Pertains to the place, time, mood, atmosphere, weather and social conditions of the story.

4. Tells what happens in the story.

5. Refers to the person in a work of fiction and his characteristics.

6. Refers to the complication in the story.

7. Takes the angle from where the story is narrated.

8. Refers to a varied story ―world‖ or milieu which includes varied cultural, historical, geographical surrounding or society.

9. Refers to the stationary, still or solitary backdrop of the story.

10. Is an element of the story that evokes varied feelings derived from the

Additional Activity

Make short but catchy hashtag about the lesson. Consider your personal reflections, reactions, and learning.

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References:

Gallo, Harold V. and Oliveros, Aries N. Grammar Essentials Creative

Nonfiction Senior High School. Published and distributed by Sibs

Publishing House, Inc., 927 Quezon Avenue, 1104 Quezon City,

copyright 2017.

www.google.com/story of Karma

www.merriamwebsterdictionary.com

For inquiries or feedback, please write or call:

Department of Education – Schools Division of Negros Oriental Kagawasan, Avenue, Daro, Dumaguete City, Negros Oriental

Tel #: (035) 225 2376 / 541 1117 Email Address: [email protected] Website: lrmds.depednodis.net