Anyong Lupa

y y y

y y y y y y y y y

Kapatagan - isang lugar kung saan walang pagtaas o pagbaba ng lupa, patag at pantay ang lupa rito. Maaaring itong taniman ng mga palay,mais,at gulay. Bundok - isang pagtaas ng lupa sa daigdig, may matatarik na bahagi at hamak na mas mataas kaysa burol. Bulkan - isang uri ng bundok sa daigdig na kung saan ang tunaw na bato ay maaaring lumabas dito mula sa kailaliman ng daigdig. May dalawang uri ng bulkan, una ang tinatawag na tahimik na kung saan matagal na hindi ito sumasabog, tulad ng Bulkang Makiling na matatagpuan sa lalawigan ng Laguna; at ang ikalawang uri naman ay aktibo na kung saan maaari itong sumabog anumang oras. Mapanganib ang ganitong bulkan. Maaari itong sumabog at magbuga ng kumukulong putik at abo. Halimbawa nito ay ang bulkang Pinatubo. Burol - higit na mas mababa ito kaysa bundok at ang halimbawa nito ay ang tanyag na Chocolate Hills ng Bohol sa Pilipinas. Pabilog ang hugis nito at tinutubuan ng mga luntiang damo sa panahon ng tag-ulan at kung tag-araw ay nagiging kulay tsokolate. Lambak - isang kapatagan ngunit napaliligiran ng mga bundok. Marami ring mga produkto tulad ng gulay, tabako, mani, mais, at palay ang maaaring itanim dito. Talampas - patag na anyong lupa sa mataas na lugar. Maganda ring taniman dahil mataba ang lupa rito. Malamig at mahangin sa lugar na ito. Tangway - isang pahaba at naka-usling anyong lupang na halos napalilibutan ng tubig. Baybayin - bahagi ng lupa na malapit sa tabing dagat Bulubundukin - matataas at matatarik na bundok na magkakadikit at sunud-sunod. Pulo - mga lupain na napalilibutan ng tubig. Yungib - mga likas na butas na may sapat na laki at lawak na maaaring pasukin ng tao at hayop. Tangway - pahaba at nakausling anyong lupa na naliligiran ng tubig. Tangos - mas maliit sa tangway.

Anyong Tubig
y y y y y y y y y y y y y

Karagatan - ang pinakamalaking anyong tubig. Dagat - malaking anyong tubig, ngunit mas maliit sa karagatan Ilog - isang mahaba at makipot na anyong tubig na umaagos patungong dagat. Nagmula ito sa maliit na sapa o itaas ng bundok o burol. Golpo - bahagi ito ng dagat. Lawa - isang anyong tubig na naliligiran ng lupa. Look - malaking bahagi ng katubigang papasok sa kalupaan. Bukal - tubig na nagmula sa ilalim ng lupa. Kipot- makitid na daang-tubig na nag-uugnay sa dalawang malaking anyong tubig tulad ng dagat o karagatan. Talon - matarik na pagbaba ng tubig sa isang sapa Batis - ilug-ilugan o saluysoy na patuloy na umaagos. Sapa - anyong tubig na dumadaloy. Kipot - May kabuuang 200 ang kipot sa Pilipinas dahil sa pagiging arkipelago nito. Look - daungan ng mga barko at iba pang sasakyang dagat.

DEUS EX MACHINA

Meaning
Something or someone that comes in the nick of time to solve a difficulty, especially in works of fiction.

Origin
This Latin term is a translation from the original Greek and owes its origin to Greek drama. 'Deus ex machina', literally 'god from the machina refers to the machina - the device by which gods were suspended above the stage in the Greek theatre. This began being used in English texts from around the middle of the 17th century. John Sergeant, in Solid philosophy asserted against the fancies of the Ideists, 1697: "Nor is it at all allowable in Philosophy, to bring in a Deus Machin at every turn, when our selves are at a loss to give a Reason for our Thesis." In the Greek dramas a common plot device was to lower the gods into the action to sort things out and bring about a tidy conclusion. The modern-day version would be the cavalry riding over the horizon, or some character awaking and realizing the previous action had all been a bad dream. The term is used these days as an implied criticism of implausible happy endings when the intervention of some improbable fairy godmother-like figure is considered too easy or cliched.

Foreshadowing Foreshadowing is used in written art and film to give hints about things to come in later plot developments. It can be very broad and easily understood, or it may be complex use of symbols, that are then connected to later turns in the plot. Sometimes an author may deliberately use false hints, called red herrings, to send readers or viewers off in the wrong direction. This is particularly the case with mystery writers, who want to bury clues to a mystery in information that is partially true and partially false. Foreshadowing is an old literary device. Uses of it occur before the development of the novel in the 18th century. Both Chaucer and Shakespeare employed foreshadowing, as did Dante. In short poems, foreshadowing may not be particularly effective, but in longer poems, which were frequently the writing style of the Middle Ages, foreshadowing is very effective and important. For example in Chaucers Troilus and Criseyde, Troilus glimpses Criseyde and feels the dreadful joy of love at looking at her. This is foreshadowing because it connotes that Troilus will have joy in his love, but also suffer as a result of it.

Shakespeare uses foreshadowing frequently, sometimes in quite obvious ways. Romeo and Juliet both talk about dying. However, Shakespeares use of foreshadowing can also be quite subtle, and critics argue about what certain symbols foreshadow. The ghost in Hamlet is often thought to foreshadow the death of the royalty of Denmark, though some argue it only foretells Hamlets death. Poetic justice, The morally reassuring allocation of happy and unhappy fates to the virtuous and the vicious characters respectively, usually at the end of a narrative or dramatic work. The term was coined by the critic Thomas Rymer in his The Tragedies of the Last Age Consider'd (1678) with reference to Elizabethan poetic drama: such justice is poetic, then, in the sense that it occurs more often in the fictional plots of plays than in real life. As Miss Prism explains in Oscar Wilde's The Importance of Being Earnest, The good ended happily, and the bad unhappily. That is what Fiction means. In a slightly different but commonly used sense, the term may also refer to a strikingly appropriate reward or punishment, usually a fitting retribution by which a villain is ruined by some process of his own making.

Narrative hook A narrative hook (or hook) is a literary technique in the opening of a story that "hooks" the reader's attention so that he or she will keep on reading. The "opening" may consist of several paragraphs for a short story, or several pages for a novel, but ideally it is the opening sentence. One of the most common forms is dramatic action, which engages the reader into wondering what the consequences of the action will be. This particular form has been recommended from the earliest days, stemming from Aristotle, and the widely used term in medias res stems from the Roman Empire. However, action is not, in itself, a hook, without the reader's wondering what will happen next, or what caused the actions to occur. Overly dramatic openings may leave the reader indifferent because the characters acting or being acted on are non-entities; even murder of a faceless character may not engage interest. The use of action as the hook, and the advice to so use it, is so widespread as to sometimes lead to the use of the term to mean an action opening, but other things can be used for narrative hooks, such mysterious settings, or engaging characters, or even a thematic statement, as with Jane Austen's opening line, "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife." When a story does not lend itself to a good hook when it is laid out linearly, the writer may tell the story out of order to engage the reader's interest. The story may begin with a dramatic moment and, once the reader is curious, flashback to the history necessary to understand it. Or it may be told as a story-within-a-story, with the narrator in the frame story telling the story to answer the curiosity of his listeners, or by warning them that the story began in an ordinary

seeming way, but they must follow it to understand latter actions. A famous early example of this technique was used in the One Thousand and One Nights, also known as the Arabian Nights, in which the frame story consists of Sheherazade telling stories to King Shahriyar; she must keep him 'hooked' to each of the stories, in order to prevent him from executing her the next morning. Narrative hooks often play an important role in suspense thrillers and mystery fiction, particularly in murder mysteries. This also dates back to the One Thousand and One Nights, in which a tale, "The Three Apples", begins with the discovery of a young woman's dead body, thus keeping the reader interested in "whodunit".

SIDE STORY A side story in fiction is a form of narrative that occurs alongside established stories set within a fictional universe. As opposed to a prequel, sequel, or interquel, a side story takes place within the same time frame as an existing work. Side stories are common in epic type series, especially war oriented series where it is possible to tell many stories from many different points of view. Early examples of a side story are found in the ancient Indian epics Mahabharata and Ramayana, which contained numerous side stories which were loosely related to the main story of those epics. It is typical for side stories to be self contained, small scale events, insignificant in the bigger picture. They tend to be one shot stories with a beginning, middle, and end and focus heavily on character drama while the major action occurs mostly in the background. They are commonly used in sitcoms to keep interest in the story or to use remaining time. A side story is not quite the same as a spin-off. A spin-off takes already known characters, usually supporting or background characters and involves them in a story or series which highlights them and further develops their character. The series' true main characters may make cameo appearances or be referred to in dialogue. Side stories, rather, focus on a completely new set of characters who have no history and typically no connections to the existing main characters. The settings for side stories are intentionally away from the major events that the main characters are known to be participating in. The term "side story" is widely used in anime fandom, where it is a direct translation of the Japanese word gaiden which is often used to describe such stories.

Twist ending
A twist ending is a plot twist occurring near or at the conclusion of a story, an unexpected conclusion to a work of fiction that causes the audience to reevaluate the narrative or characters.
Flashback, or analepsis, is a sudden, vivid reversion to a past event. It is used to surprise the reader with previously unknown information that provides the answer to a mystery, places a character in a different light, or reveals the reason for a previously inexplicable action. The Alfred Hitchcock film Marnie

employed this type of twist ending. Sometimes this is combined with the above category, as the flashback may reveal the true identity of the one of the characters, or that the protagonist is related to one of the villain's past victims, as Sergio Leone did with Charles Bronson's character in "Once Upon a Time in the West" or Frederick Forsyth's "The Odessa File".