University of Bohol

Junior High School

Tagbilaran City

UBlended
Self-Learning

Module
in English 9
S.Y. 2020-2021

Name of Student: _________________________________________________

Grade and Section: _______________________________________________
Quarter: ____________ Week: _____________

Ms. Hannah Adellit B. Rodriguez

Subject Teacher
Contact Details: 09655741326; habrodriguez@universityofbohol.edu.ph
LEARNING MODULE
English Grade 9| 4th Quarter

Power of Dreams
 UNIVERSITY OF BOHOL
JUNIOR HIGH SCHOOL

VISION: A vibrant university high school nurturing lives for a great future.

MISSION: To develop happy achievers equipped with life relevant skills anchored on Scholarship,
Character, Service.

CORE VALUES: Self-reliance, resilience, God-loving, compassion, extra-miler

Module 4: The Power of Dreams

Introduction and Focus Questions

Throughout life’s endless questions of how’s and why’s, our lives are intertwined alongside with the journey
of discovering and rediscovering. Every phase of our automatically responds to uncertainties and that is
totally fine for others who had been equipped with optimism yet the other way around to those who are
living in pessimism.

As you head to the last module for this school year, ask yourself, “What part of myself have I
rediscovered?” The answer might not be readily available in your presence but do not stumble – make it as
your motivation to quest for a bigger chances that there is really something to discover or rediscover within
you. Without even noticing, you have lapsed your expectations.

Enjoy the last series of activities that will enable you to “Rediscover” yourself in a way intellectual and
academic in your end.

As you go through this module, remember to search for the answers to the following focus questions: 

1. How can one be able to judge the relevance and worth of ideas in a presentation?
2.

Most Essential Learning Competencies

In this module, you will consider the abovementioned questions as you learn the following Most
Essential Learning Competencies (MELCs):
MELC 1: Judge the relevance and worth of ideas, soundness of author’s reasoning and the
effectiveness of the presentation
MELC 2: React to lay value, judgment on critical issues that demand sound analysis and call for
prompt action

Lessons and Coverage

This module covers by the following expected skills:

Lesson 1 – Presentation of Ideas – Relevance and Worth

1. Identifying soundness of reasoning in the information given by the author
2. Distinguishing bias and prejudice statements
3. Correcting statements that are biased and prejudiced
4. Differentiating bias and prejudiced statements
5. Applying knowledge on detecting bias and prejudice
6. Judging using knowledge on logical fallacies
7. Expressing affirmation or negation to the effectiveness of the presentation delivered by an author
Lesson 2 – Presentation of Ideas – Public Speaking
1. Compose a full-length monologue employing appropriate use of modals, active and passive and direct
and indirect speeches
2. Use varied verbal and non-verbal communication strategies when performing a monologue
3. Produce the sounds of English effectively when delivering lines in a monologue

Be guided by the list of activities and period of the lessons you will take for this module:

Lesson 1 – Presentation of Ideas – Relevance and Worth

Activity No. Activity Title Duration
1 Flashbacking – Bias One week
2 Flashbacking – Prejudice
3 Bias? Prejudice?
4 Fall-A-Cease!
5 Initializing thru I-R-F Chart
6 The Fallacy of Thoughts One week
7 Affirmation and Negation
8 Re-assessing
9 Which is Which?
10 Decision Time One week
11 Rewrite to Revive
12 Revisiting thru I-R-F Chart
13 Hear Me
14 Give it a Try
15 For Now
16 The Voice One week
17 Two Direction
18 MOODals
19 Monologue 1 One week
20 Monologue 2
21 Monologue 3
22 Writing the Composition One week
23 The Final Countdown
24 Rediscovering the Self One week
Module Map

The simple map below shows what the lessons will cover which adheres to the Content and
Performance standards set by the Department of Education:

CONTENT STANDARD
The learner demonstrates understanding of how Anglo-American literature and other text types serve
as means of preserving unchanging values in a changing world; also how to use the features of a full-
length play, tense consistency, modals, active and passive constructions plus direct and indirect
speech to enable him/her competently performs in a full-length play.

PERFORMANCE STANDARD
The learner competently performs in a full-length play through applying effective verbal and
non-verbal strategies and ICT resources based on the following criteria: Focus, Voice,
Delivery and Dramatic Conventions

Presentation of Ideas Presentation of Ideas

Relevance and Worth Public Speaking

Rediscovering the Self

**Since a full-length play is not possible, a different type of play (employing the same criteria) is substituted
 Vision A vibrant university high school nurturing lives for a great future.
Mission To develop happy achievers equipped with life-relevant skills anchored on Scholarship, Character and
Service.
Core Values Self-reliant, resilience, God-loving, compassion, extra miler

Module 4
Lesson 1 – Presentation of Ideas – Relevance and Worth

||
This lesson will mainly focus on the continuity of your lessons in Module 3 but with more specificity on
the relevance and worth of ideas presented in a material that you will view. Activate prior knowledge and
master a more logical mind as you go along.

Activity 1. Flashbacking - Bias

In the modern society, it is a given that most people just go directly to expressing their thoughts and
treating it as if it is the only true one. Little did they know that too much expression of thoughts might lead to
bias. Let us have a little review on the different kinds of bias to check if you have really learn about it what it
is.
Given are images that depict social issues. Write a bias you commonly hear from these images. Then,
classify the bias as to what type does it belong.
Social Issue Biased Statement Type of Bias

https://bit.ly/3jJqPGH

https://bit.ly/2BwLlJr

https://bit.ly/3fWp8n7
Process Questions:
1. How did you find the activity?

2. What can you say about the images you have viewed?

3. Why do you think most people commit or thought of those biases?

4. How can you help correct those biases?

To give you a little throwback, here’s a list of the biases you had learn in the past module:
1. Confirmation Bias 5. Neglecting Probability 9. Bandwagon Effect
2. Ingroup Bias 6. Observational Selection Bias 10. Projection Bias
3. Gambler’s Fallacy 7.Status-Quo Bias 11. Current Moment Bias
4. Post-Purchase Rationalization 8. Negativity Bias 12. Anchoring Effect

Now, which of the following type of biases do you usually commit? Give your thoughts below.

|| Activity 2. Flashbacking – Prejudices

Prejudice is one of the most hateful attitude anybody can ever thought of towards others. As much as
prejudice is an attitude and belief that someone or a group of people have, it makes others feel inferior and
worse discriminated. Let us check your knowledge on the types of prejudice following the same steps that
you did in Activity 1.
Given are images that depict social issues. Write a prejudice you commonly hear from these images. Then,
classify the prejudice as to what type does it belong.
 Social Issue Prejudiced Statement Type of Prejudice

https://bit.ly/2WWn9aK

https://bit.ly/32U8Qrh

https://bit.ly/2P9IWI5

Process Questions:
1. How did you find the activity?

2. What can you say about the images you have viewed?

3. Why do you think most people commit or thought of those prejudice

4. How can you help correct those prejudice?

To give you a little throwback, here’s a list of the prejudice you had learn in the past module:
1. Gender Prejudice 4. Age Prejudice
2. Racial/Ethnic Minority Prejudice 5. Sexual Orientation Prejudice
3. Immigrants, Refugees and Gypsy Populations 6. Class Prejudice
7. Disability Prejudice
Now, which of the following type of prejudice do you usually commit? Give your thoughts below.

|| Activity 3. Bias? Prejudice?

Before we fully embark on another way to think logically, let us first check if you can fully detect whether a
statement is biased or prejudiced. Do the activity.
Complete the Venn Diagram below:

Bias
Similarities Prejudice

Process Questions:
1. How can you identify if a statement is biased? How about if the statement is prejudiced?
2. What were your indicators in analyzing that a statement is biased or prejudiced?

3. What are the advantages of being able to detect biased and prejudiced statements?

There you have it and that little throwback. Knowledge towards bias and prejudice can give you more
reason to think logically and avoid unreasonable thoughts that may hurt others.
Are you ready to embark to another logic- related lesson? Let us go!

|| Activity 4. Fall-A-Cease!
Have you ever heard correct questions but unreasonable answers or out of this world answers?
Sometimes, as long as there is a response, people will just accept it no matter how unreasonable it is.

One of the many ways to correct illogical thinking is by knowing that a statement is fallacious. A fallacy is
an erroneous argument dependent upon an unsound or illogical contention.
Given below are some fallacies that you should know about. Give a read and fill-in the FRAYER’S MODEL
after.

Types of Fallacies

1. Appeal to Ignorance
Appeal to ignorance happens when one individual utilizes another individual’s lack of information on a
specific subject as proof that his or her own particular argument is right.

Example:
“You can’t demonstrate that there aren’t Martians living in caves on the surface of Mars, so it is sensible for
me to accept there are.”

2. Appeal to Authority 
This sort of error is also known as “Argumentum Verecundia” (argument from modesty). Instead of
concentrating on the benefits of an argument, the arguer will attempt to append their argument to an
individual of power or authority in an effort to give trustworthiness to their argument.
Example:
“Well, Isaac Newton trusted in Alchemy, do you suppose you know more than Isaac Newton?”

3. Appeal to Popular Opinion 

This sort of appeal is when somebody asserts that a thought or conviction is correct since it is the thing that
the general population accept.

Example:
“Lots of individuals purchased this collection, so it must be great.”

4. Association Fallacy
Sometimes called “guilt by affiliation,” this happens when somebody connects a particular thought or drill to
something or somebody negative so as to infer blame on another individual.

Example:
“Hitler was a veggie lover, in this way, I don’t trust vegans.”

5. Attacking the Person

 Also regarded as “Argumentum ad Hominem” (argument against the man), this is a common fallacy used
during debates where an individual substitutes a rebuttal with a personal insult.

Example:
“Don’t listen to Eddie’s contentions on instruction, he’s a simpleton.”

6. Begging the Question

The conclusion of a contention is accepted in the statement of the inquiry itself.

Example:
“If outsiders didn’t take my daily paper, who did?” (accept that the daily paper was really stolen).

7. Circular Argument
This fallacy is also known as “Circulus in Probando”. This error is committed when an argument takes its
evidence from an element inside the argument itself instead of from an outside one.

Example:
“I accept that Frosted Flakes are incredible since it says as much on the Frosted Flakes bundling.”

8. Relationship Implies Causation Fallacy 

Example:
“I saw a jaybird and ten minutes after the fact, I crashed my auto, in this manner, jaybirds are terrible
fortunes.”

9. False Dilemma/Dichotomy 
Sometimes called “Bifurcation”, this sort of error happens when somebody presents their argument in such
a way that there are just two conceivable alternatives left.

Example:
“If you don’t vote for this applicant, you must be a Communist.”

10. Illogical conclusion

Example:
“All Dubliners are from Ireland. Ronan is not a Dubliner, in this manner, he is not Irish.”

11. Slippery Slope 

The error happens when one contends that an exceptionally minor movement will unavoidably prompt great
and frequently ludicrous conclusions.

Example:
“If we permit gay individuals to get hitched, what’s afterward? Permitting individuals to wed their pooches?”

12. Syllogism Fallacy
This fallacy may also be used to form incorrect conclusions that are odd. Syllogism fallacy is a false
argument as it implies an incorrect conclusion.

Example:
“All crows are black and the bird in my cage is black. So, the bird in my cage is a crow.”

Definition Facts/Characteristics

Examples Logical Fallacies Non-Examples

Process Questions:
1. Do you think you were able to write down the right answers to the word to be defined? If not, how are
you going to correct it?

2. Based on your answers, which do you think give you the idea of what logical fallacies are? Justify your
answer.

Take note that there are plenty of logical fallacies. You can search and read more about it.

|| Activity 6. The Fallacy of Thoughts

Given below are two videos which will give you a wider perspective of thoughts about education. Be able to
judge the relevance and worth of ideas, soundness of author’s reasoning and the effectiveness of the
presentation.
Site: Youtube Folder name: Lesson 1, Activity 6
Video name: I Just Sued the School System File name: I Just Sued the School System
Link: https://bit.ly/3jFsrS3
File name Student vs. Teacher (2020)
Video name: Student vs. Teacher (2020)
Link: https://bit.ly/39sUiQM

While you watch, take note of fallacies you can observe.

Process Questions:
1. What are your initial thoughts from the title of the videos? Do you think people can fully expand thoughts
just by hearing titles? Justify your answer.

2. Did you have a hard time identifying fallacies? Or was it easy to detect fallacies?

3. How can one be able to judge the relevance and worth of ideas in a presentation?
|| Activity 7. Affirmation and Negation
Now watch the videos again but this time, write down the statements where you affirm or negate. Be ready
to reason out for your choices. Fill-in the table below to complete the activity.
Video # 1: I Just Sued the School System
Statement/s Affirmation/Negation Reason/s

Video # 2: Student vs. Teacher (2020)

Statement/s Affirmation/Negation Reason/s

It is a given fact that not everything said by someone is affirmative to our beliefs. Even though it is not
always positive in both ends, it is also best if knowing and hearing the other side of the coin is whole-
heartedly accepted. Fallacies are erroneous but it can be corrected. Affirmation and negation to one’s
statement is also expected most especially when the idea being discussed deals with personal convictions
or an experience.
To be able to effectively express affirmation or negation, you need to take a good note of the following:
There is no room, or very little room for doubt when using terms that emphasizes affirmation. We
call it adverbs of affirmation.

Adverbs of affirmation
 By all means
 Certainly
 Surely
 Verily
  Definitely
 Indeed
 Obviously
 Truly
 Undoubtedly
 Clearly
 Exactly
 Really

Examples:
 They are undoubtedly the best match to win this year.
 Andy certainly did not catch the culprit of the crime.
 Given the circumstances, I truly believe in her capacity.
 The convicted should be found from his escape by all means.

Adverbs of negation
Adverbs of negation are completely opposite form affirmation. They show that the speaker does
not believe there is any chance things will go the way they say. Aside from that, it also means that
the action will be certainly fall or go directly opposite to what the speaker expects.
Here are some adverbs of negation:
 Any
 Never
 No
 Not

Any combination with these can also be considered an adverb of negation.

Examples:
 There is no chance they are going to win tonight. Especially not since they lost their star
player.
 She has never been to Las Vegas, so I’m certain she hasn’t gotten married behind his
back.
 I don’t see any way this project could hope to be profitable.

Let’s do a short quiz to check your understanding:

Direction: Encircle the most appropriate adverb of affirmation/negation to complete the sentence.

1. This is a battle that we are going to win ____________.

O indeed
O not
O by all means
O verily
2. Her actions are _________ a sign of her virtue.
O never
O not
O verily
O truly

3. __________________ you can’t expect us to move production forward without proper testing>
O by all means
O no
O indeed
O surely

4. We have been playing poker together for years, and I have ____________ cheated.
O obviously
O by all means
O never
O undoubtedly

5. There’s ___________ a chance in hell. I’ll ever do that.

O certainly
O no
O obviously
O not
[ CITATION Ana20 \l 1033 ]
Take note: Being able to express affirmation and negation gives more emphasis on what
your stand is.

|| Activity 8. Re-assessing
This time, you are almost overloaded with refreshed learning and new learning. Let us go back to what you
wrote on Activity 7 and rewrite your answers this time with the use of the adverbs of affirmation and
negation.
Video # 1: I Just Sued the School System
Original Statement Rewritten Statement Adverb Used
Video # 2: Student vs. Teacher (2020)
Original Statement Rewritten Statement Adverb Used

Process Questions:
1. Observe your original and rewritten statements. Where there any significant change in the tone of the
statements? Elaborate your answer/s.

2. What is the role of using adverb of affirmation and negation in a statement?

We will go back to our venture on logical fallacies so be ready and be equipped!

||Activity 9. Which is which?

You generate your own arguments, but it is important that you avoid fallacious and illogical arguments.
Open the files below to see examples of good arguments and fallacious and illogical arguments.
Online: Video conference thru Zoom
Folder name: Lesson 1, Activity 9
File name: Argumentative Thesis – Excelsior College OWL.html
Counterargument _.html

Here is an example of a short essay. Determine which of the outlines are found in the text and which parts
have good counterarguments. Support your answer with clear explanation.

Site: Study Mode Research

Notes title: Essay About Philippine's Pork Barrel
Notes link: https://bit.ly/2ZfSxCU

Folder name: Lesson 1, Activity 9

File name: Essay About Philippine's Pork Barrel - 713 Words.html

Write your answers here:

The outline?
The good part?

Here are more readings for you! Click/open the links/files below:
Site: Study.com
Notes title: What is a Counterargument - Definition & Examples
Notes link: https://bit.ly/2OeAir8

Folder name: Lesson 1, Activity 9

File name: What is a Counterargument_ - Definition & Examples - Video & Lesson Transcript _
Study.com.html

Site: The Writing Center – University of North Carolina at Chapel Hill

Notes title: Fallacies
Notes link: https://unc.live/2ZgJkdl

Folder name: Lesson 1, Activity 9

File name: Fallacies – The Writing Center • University of North Carolina at Chapel Hill.html

Site: Purdue University

Notes title: Logical Fallacies
Notes link: https://bit.ly/3el7GqN

Folder name: Lesson 1, Activity 9

File name: Fallacies __ Purdue Writing Lab.html

You have just read another notes about logical fallacies. Can you identify one? Test yourself then be able
to spot the fallacies by marking it with an (X).

There is a Covid-19 pandemic in
the first half of the year. There
has been one every first half of
the year.
The new student will be an honor
student because his friends are
honor students.
Dogs have rabies. Therefore all
dogs are dangerous.
Every student who lives in the
squatter areas is a drug addict.
The mayor is an old friend of an
ex-convict. He cannot be trusted.
The oil price went up again. The
regular fare will once again
increase.

How well did you do? Share your thoughts below:

||Activity 10. Decision Time
Can you say that you are equipped to do the next big thing? You are expected to understand the basic
lessons to be able to fully judge the relevance and worth of ideas in any situations most especially in issues
such as economic and social ones.
You will write an argumentative essay which will enable you to fully discuss your thoughts about any social
or economic issue or just any issue you find that there is a need to express. Writing an argumentative
essay is not as easy as it seems. If you wish to have your point accepted, you must develop your essay in
a logical argument.
Here is a strategy that will help you. Just follow the guidelines.

Pick an idea or opinion (formulate an opinion and state that opinion clearly)
Organize and generate notes and ideas for each part of the TREE (organize notes by completing a graphic
organizer)

Topic sentence (formulate a topic sentence expressing an opinion)

Reason (give at least three reasons to support the topic sentence)
Explanation (explain your reasons)
Ending (formulate a statement to summarize the topic sentence)

Write and say more (write at least 1-2 paragraphs. Follow the plan developed using the TREE strategy)
Write your draft below….
||Activity 11.Rewrite to Revive
Receiving and giving feedback allows improvement to take place. The comments and suggestions will
guide you in the next thing to do – making revisions. To make your revising effective, follow the CDO
revising strategy.
C= compare by identifying discrepancies between written text and intended meaning
D= diagnose by selecting a specific reason for the mismatch
O= operate by fixing the problem and evaluating the effectiveness of the change
Cycle 1  each sentence

Focus on Cycle 2  each paragraph

Cycle 3  whole essay

You are scored based on the rubric. Do not forget to self-evaluate first.

Points
Criteria Earned

  4 3
Well developed
introductory paragraph
contains detailed
INTRODUCTION
background information,
Background/History
a clear explanation or
Define the Problem
definition of the problem,
Thesis Statement
and a thesis statement.
2 1  
Introductory Introduction states the Thesis and/or
paragraph contains thesis but does not problem is vague or
some background adequately explain the unclear.
 
information and states background of the problem.  Background details
the problem, but does The problem is stated, but are a seemingly
not explain using lacks detail. random collection of ____
details. States the information, unclear,
thesis of the paper. or not related to the
topic.

Conclusion summarizes Conclusion Conclusion summarizes Conclusion does not

the main topics without summarizes main main topics, but is adequately
repeating previous topics.  Some repetitive. No suggestions summarize the main
CONCLUSION sentences; writer's suggestions for for change and/or opinions points. No ____
opinions and suggestions change are evident. are included. suggestions for
for change are logical change or opinions
and well thought out. are included.
 Three or more main Three or more main points, Less than three main
Three or more main points are present but but all lack development. points, with poor
points are well developed may lack detail and Refutation paragraph development of
with supporting details. development in one or missing and/or vague. ideas.  Refutation
MAIN POINTS
Refutation paragraph two. Refutation missing or vague.
Body Paragraphs ____
acknowledges the paragraph
Refutation
opposing view, and acknowledges the
summarizes their main opposing view, but
points. doesn't summarize
points.

All source material is All source material is All sources are accurately Lacks sources
used and smoothly used. All sources are documented, but many are and/or sources are
integrated into the text. accurately not in the desired format on not accurately
All sources are documented, but a the Works Cited page. documented.
USE OF SOURCES
accurately documented few are not in the Some sources are relevant Incorrect format is ____
Documentation
and in the desired format desired format on the and reliable. used.
on the Works Cited page. Works Cited page. Sources are not
All sources are relevant Most sources are relevant nor reliable.
and reliable. relevant and reliable.

The writer uses some Some unclear or confused Many unclear or

The writer treats the
SENTENCE PRECISION subject seriously using
Sentence Clarity formal language. All
sentences are complete,
accurate, and clear; the
 
writer controls the point
of view appropriately.
informal language and sentences; the writer shifts incomplete
slang. Most sentences person throughout the sentences.
are complete, essay or uses "you" and "I"
accurate and clear; frequently.
____
there is an occasional
use of "you" in the
essay, indicating a
lack of revision or
control.

Punctuation and Sentence structure is Work contains structural Work contains

capitalization are correct. generally correct. weaknesses and multiple incorrect
MECHANICS Some awkward grammatical errors. There sentence structures.
Punctuation & sentences do appear. are three or four errors in There are four or ____
Capitalization There are one or two punctuation and/or more errors in
errors in punctuation capitalization. punctuation and/or
and/or capitalization. capitalization.

Write your revised essay below….

||Activity 13. Hear Me!

History has produced different speeches of great men and they have become the basis of people to revisit
history. Here is a speech of a king who made a huge difference in the lives of the discriminated and the
underprivileged “Negros”. His vision is to promote equality by eradicating racism in the United States. Get
ready to meet him and listen to his powerful speech delivered on August 28, 1963.
I Have a Dream
By: Martin Luther King Jr.

I am happy to join with you today in what will go down in history as the greatest demonstration
for freedom in the history of our nation.

Five score years ago, a great American, in whose symbolic shadow we stand today, signed the
Emancipation Proclamation. This momentous decree came as a great beacon light of hope to
millions of Negro slaves who had been seared in the flames of withering injustice. It came as a
joyous daybreak to end the long night of their captivity.

But one hundred years later, the Negro still is not free. One hundred years later, the life of the
Negro is still sadly crippled by the manacles of segregation and the chains of discrimination.
One hundred years later, the Negro lives on a lonely island of poverty in the midst of a vast
ocean of material prosperity. One hundred years later, the Negro is still languishing in the
corners of American society and finds himself an exile in his own land. So we have come here
today to dramatize a shameful condition.

In a sense we have come to our nation’s capital to cash a check. When the architects of our
republic wrote the magnificent words of the Constitution and the Declaration of Independence,
they were signing a promissory note to which every American was to fall heir. This note was a
promise that all men, yes, black men as well as white men, would be guaranteed the unalienable
rights of life, liberty, and the pursuit of happiness.

It is obvious today that America has defaulted on this promissory note insofar as her citizens of
color are concerned. Instead of honoring this sacred obligation, America has given the Negro
people a bad check, a check which has come back marked “insufficient funds.” But we refuse to
believe that the bank of justice is bankrupt. We refuse to believe that there are insufficient funds
in the great vaults of opportunity of this nation. So we have come to cash this check — a check
that will give us upon demand the riches of freedom and the security of justice. We have also
come to this hallowed spot to remind America of the fierce urgency of now. This is no time to
engage in the luxury of cooling off or to take the tranquilizing drug of gradualism. Now is the time
to make real the promises of democracy. Now is the time to rise from the dark and desolate
valley of segregation to the sunlit path of racial justice. Now is the time to lift our nation from the
quick sands of racial injustice to the solid rock of brotherhood. Now is the time to make justice a
reality for all of God’s children.

It would be fatal for the nation to overlook the urgency of the moment. This sweltering summer of
the Negro’s legitimate discontent will not pass until there is an invigorating autumn of freedom
and equality. Nineteen sixty-three is not an end, but a beginning. Those who hope that the
Negro needed to blow off steam and will now be content will have a rude awakening if the nation
returns to business as usual. There will be neither rest nor tranquility in America until the Negro
is granted his citizenship rights. The whirlwinds of revolt will continue to shake the foundations of
our nation until the bright day of justice emerges.

But there is something that I must say to my people who stand on the warm threshold which
leads into the palace of justice. In the process of gaining our rightful place we must not be guilty
of wrongful deeds. Let us not seek to satisfy our thirst for freedom by drinking from the cup of
bitterness and hatred.

We must forever conduct our struggle on the high plane of dignity and discipline. We must not
allow our creative protest to degenerate into physical violence. Again and again we must rise to
the majestic heights of meeting physical force with soul force. The marvelous new militancy
which has engulfed the Negro community must not lead us to a distrust of all white people, for
many of our white brothers, as evidenced by their presence here today, have come to realize
that their destiny is tied up with our destiny. They have come to realize that their freedom is
inextricably bound to our freedom. We cannot walk alone.

As we walk, we must make the pledge that we shall always march ahead. We cannot turn back.
There are those who are asking the devotees of civil rights, “When will you be satisfied?” We
can never be satisfied as long as the Negro is the victim of the unspeakable horrors of police
brutality. We can never be satisfied, as long as our bodies, heavy with the fatigue of travel,
cannot gain lodging in the motels of the highways and the hotels of the cities. We cannot be
satisfied as long as the Negro’s basic mobility is from a smaller ghetto to a larger one. We can
never be satisfied as long as our children are stripped of their selfhood and robbed of their
dignity by signs stating “For Whites Only”. We cannot be satisfied as long as a Negro in
Mississippi cannot vote and a Negro in New York believes he has nothing for which to vote. No,
no, we are not satisfied, and we will not be satisfied until justice rolls down like waters and
righteousness like a mighty stream.

I am not unmindful that some of you have come here out of great trials and tribulations. Some of
you have come fresh from narrow jail cells. Some of you have come from areas where your
quest for freedom left you battered by the storms of persecution and staggered by the winds of
police brutality. You have been the veterans of creative suffering. Continue to work with the faith
that unearned suffering is redemptive.

Go back to Mississippi, go back to Alabama, go back to South Carolina, go back to Georgia, go

back to Louisiana, go back to the slums and ghettos of our northern cities, knowing that
somehow this situation can and will be changed. Let us not wallow in the valley of despair.

I say to you today, my friends, so even though we face the difficulties of today and tomorrow, I
still have a dream. It is a dream deeply rooted in the American dream.

I have a dream that one day this nation will rise up and live out the true meaning of its creed:
“We hold these truths to be self-evident: that all men are created equal.”

I have a dream that one day on the red hills of Georgia the sons of former slaves and the sons
of former slave owners will be able to sit down together at the table of brotherhood.

I have a dream that one day even the state of Mississippi, a state sweltering with the heat of
injustice, sweltering with the heat of oppression, will be transformed into an oasis of freedom and
justice.

I have a dream that my four little children will one day live in a nation where they will not be
judged by the color of their skin but by the content of their character.

I have a dream today.

I have a dream that one day, down in Alabama, with its vicious racists, with its governor having
his lips dripping with the words of interposition and nullification; one day right there in Alabama,
little black boys and black girls will be able to join hands with little white boys and white girls as
sisters and brothers.

I have a dream today.

I have a dream that one day every valley shall be exalted, every hill and mountain shall be made
low, the rough places will be made plain, and the crooked places will be made straight, and the
glory of the Lord shall be revealed, and all flesh shall see it together.

This is our hope. This is the faith that I go back to the South with. With this faith we will be able
to hew out of the mountain of despair a stone of hope. With this faith we will be able to transform
the jangling discords of our nation into a beautiful symphony of brotherhood. With this faith we
will be able to work together, to pray together, to struggle together, to go to jail together, to stand
up for freedom together, knowing that we will be free one day.

This will be the day when all of God’s children will be able to sing with a new meaning, “My
country, ‘tis of thee, sweet land of liberty, of thee I sing. Land where my fathers died, land of the
pilgrim’s pride, from every mountainside, let freedom ring.”

And if America is to be a great nation this must become true. So let freedom ring from the
prodigious hilltops of New Hampshire. Let freedom ring from the mighty mountains of New York.
Let freedom ring from the heightening Alleghenies of Pennsylvania!

Let freedom ring from the snowcapped Rockies of Colorado!

Let freedom ring from the curvaceous slopes of California!

But not only that; let freedom ring from Stone Mountain of Georgia!

Let freedom ring from Lookout Mountain of Tennessee!

Let freedom ring from every hill and molehill of Mississippi. From every mountainside, let
freedom ring.

And when this happens, when we allow freedom to ring, when we let it ring from every village
and every hamlet, from every state and every city, we will be able to speed up that day when all
of God’s children, black men and white men, Jews and Gentiles, Protestants and Catholics, will
be able to join hands and sing in the words of the old Negro spiritual, “Free at last! free at last!
thank God Almighty, we are free at last!”

Source: [CITATION Mar \l 1033 ]

You can watch to his speech by visiting the link/file:
Site: Youtube
Video Title: I Have A Dream by Martin Luther King Jr.
Link: https://bit.ly/2ALJkbU

Folder name: Lesson 1, Activity 13

File name: I Have A Dream by Martin Luther King Jr.

Process Questions:
1. What message did he convey to his audience?

2. What was his purpose of delivering that speech?

3. If you were one of the audiences, would you be convinced by him in taking an action as a response to
his call? Why?

4. Was he effective in delivering his speech? What are your gauges in telling so?

||Activity 14. Give it a Try!

There are several ways to express ourselves. Now that you have learned so much about how well can we
be able to judge the effectiveness of something presented – written and orally, it is your turn to do such as
well. You are done with the written aspect so guess what is left? Good job! You are to deliver the essay you
composed. Do not worry! Everyone started small. Everyone started completely as neophytes.
Before you go on recording, take note of the following tips:
1. Show that you are confident
2. Keep Calm
3. Nothing beats simplicity
4. Slow Down! Don’t be in a hurry
5. Speak the Speech
6. Convey with passion
7. Nothing is pleasant that is not spiced with variety
8. Let it run smooth
9. Look in the eye
10. Love what you do as much as possible

Now that you are done with the tips, follow the steps below and do your take one for your speech delivery.
1. In 1 – 2 minutes, video yourself delivering your speech.
2. Wear an appropriate attire.
3. You can glance once in a while when delivering your speech.
4. You can choose to send your video in any of the following platforms:
-Facebook Messenger -Email
-Save it in your external hard drive
The final delivery will be done after this activity. You have the entire week to send or save your output.
||Activity 15. For Now
Have you received your feedback so far? How did you find it?
In this activity, you will deliver the speech you made in the previous lesson. Likewise, read the tips again
before delivering your final performance.
20—Excellent 17—Good 15—Fair 10—Needs
Improvement
Delivery Holds attention of Consistent use of direct Displays minimal eye Holds no eye contact
entire audience with eye contact with contact with with audience, as entire
the use of direct eye audience, but still audience, while report is read from notes
contact, seldom returns to notes reading mostly from
Speaks in low volume
looking at notes the notes
Speaks with and/ or monotonous
Speaks with satisfactory variation of Speaks in uneven tone, which causes
fluctuation in volume volume and inflection volume with little or audience to disengage
and inflection to no inflection
maintain audience
interest
and emphasize key
points
Content/ Demonstrates full Is at ease with Is uncomfortable with Does not have grasp of
Organiz knowledge by expected answers to all information and is information and cannot
ation answering all class questions, without able to answer only answer questions about
questions elaboration rudimentary subject
questions
with explanations Has somewhat clear Does not clearly define
and elaboration purpose and subject; Attempts to define subject and purpose;
some examples, facts, purpose and subject; provides weak or no
Provides clear
and/or statistics that provides support of subject; gives
purpose and subject;
support the subject; insufficient support for
pertinent examples, weak examples, facts,
includes some data or ideas or conclusions
facts, and/or and/ or statistics,
evidence that supports
statistics; supports which do not
conclusions
conclusions/ideas adequately support
with evidence the subject; includes
very thin
data or evidence
Enthusias Demonstrates strong Shows some Shows little or mixed Shows no interest in
m/ enthusiasm about enthusiastic feelings feelings about the topic presented
Audienc topic during entire about topic topic being presented
Fails to increase audience
e presentation
Raises audience Raises audience understanding of
Awarene
Significantly understanding and understanding and knowledge of topic
ss
increases audience awareness of most knowledge of some
understanding and points points
knowledge of topic;
convinces an
audience to
recognize the validity
and
importance of the
subject
Comme
nts

Now that you are ready to deliver your speech, record your performance and do the same as you did in the
previous activity.
Process Questions
1. How was your experience in delivering a speech?

2. Were you effective in expressing your perspective in dealing with the issue you raised? In what way/s?

3. Based on your assessments, answer the worksheet below before proceeding to the next activity.

Apply your knowledge of evaluating one’s self. How did you see yourself while doing the activities? Fill-out
the boxes objectively.

3 things I learned from the activity:

2 things I discovered about myself while doing the

activity:

1 thing I have to develop in myself for the next

activities like this:
 A vibrant university high school nurturing lives for a great future.
Vision
Mission To develop happy achievers equipped with life-relevant skills anchored on Scholarship, Character and
Service.
Core Values Self-reliant, resilience, God-loving, compassion, extra miler

Module 4
Lesson 2 – Presentation of Ideas – Public Speaking

|| You are to compose a meaningful one-person performance which will talk about prevalent, relevant
issue either socio or economic aspect of the society. At the end of the lesson, you are expected to make
use of the different techniques and devices in expressing yourself through your composition of your great
masterpiece. Let us begin by doing the activities designed just for you.

Activity 16. The Voice

Let us start Lesson 2 by mastering the grammatical parts of your composition. You are going to run through
review and some activities to check your mastery on how to use it.
For now, read the notes below and do the best that you can to absorb it within you.
Active and Passive Voice

Active voice means that a sentence has a subject that acts upon its verb. Passive voice means
that a subject is a recipient of a verb’s action. You may have learned that the passive voice is
weak and incorrect, but it isn’t that simple. When used correctly and in moderation, the passive
voice is fine.

In English grammar, verbs have five properties: voice, mood, tense, person, and number; here,
we are concerned with voice. The two grammatical voices are active and passive.

What’s the difference between active and passive voice?

Active voice
When the subject of a sentence performs the verb’s action, we say that the sentence is in
the active voice. Sentences in the active voice have a strong, direct, and clear tone. Here are
some short and straightforward examples of active voice.

Active voice examples

 Monkeys adore bananas.

 The cashier counted the money.
 The dog chased the squirrel.

All three sentences have a basic active voice construction: subject, verb, and object. The
subject monkey performs the action described by adore. The subject the cashier performs the
action described by counted. The subject the dog performs the action described by chased. The
subjects are doing, doing, doing—they take action in their sentences. The active voice reminds us
of the popular Nike slogan, “Just Do It.”
Passive voice

A sentence is in the passive voice, on the other hand, when the subject is acted on by the verb.
The passive voice is always constructed with a conjugated form of to be plus the verb’s past
participle. Doing this usually generates a preposition as well. That sounds much more complicated
than it is—passive voice is actually quite easy to detect. For these examples of passive voice, we
will transform the three active sentences above to illustrate the difference.

Passive voice examples

 Bananas are adored by monkeys.

 The money was counted by the cashier.
 The squirrel was chased by the dog.

Let’s take a closer look at the first pair of sentences, “Monkeys adore bananas” and “Bananas are
adored by monkeys.” The active sentence consists of monkeys (subject) + adore (verb)
+ bananas (object). The passive sentence consists of bananas (object) + are adored (a form of to
be plus the past participle adored) + by (preposition) + monkeys (subject). Making the sentence
passive flipped the structure and necessitated the preposition by. In fact, all three of the
transformed sentences above required the addition of by.

When to use active and passive voice?

Using the active voice conveys a strong, clear tone and the passive voice is subtler and weaker.
Here’s some good advice: don’t use the passive voice just because you think it sounds a bit
fancier than the active voice.

That said, there are times the passive voice is useful and called for. Take “The squirrel was
chased by the dog,” for example. That sentence construction would be helpful if the squirrel were
the focus of your writing and not the dog.
A good rule of thumb is to try to put the majority of your sentences in the active voice, unless you
truly can’t write your sentence in any other way.
[ CITATION Cat \l 1033 ]

Directions: Rewrite the following changing the active sentences to passive and passive sentences to active.
Rewrite it below the sentence.

1. The thieves have been arrested by the police.

2. The marvelous performance delivered by the children enthralled us.

3. He has been invited to their party.

4. We have shipped your order.

5. The girl recited the poem beautifully.

6. The guests enjoyed the party.

7. The child impressed everyone with his polite manners.

8. A girl from Chennai won the first prize.

9. The readers like the latest book of the writer.

10. They are painting the walls.

11. The car has been fixed by the mechanic.

12. She accepted their invitation with pleasure.

Answers
1. The police have arrested the thieves.
2. We were enthralled by the marvelous performance delivered by the children.
3. They have invited him to their party.
4. Your order has been shipped by us.
5. The poem was beautifully recited by the girl.
6. The party was enjoyed by the guests.
7. Everyone was impressed with the polite manners of the child.
8. The first prize was won by a girl from Chennai.
9. The latest book of the writer is liked by the readers.
10. The walls are being painted by them.
11. The car mechanic has fixed the car.
12. Their invitation was accepted (by her) with pleasure.
[ CITATION Act17 \l 1033 ]

What’s your score? Did you do better?

||Activity 17. Two Direction

Let us continue our grammar learning with another lesson which you may have tackled in your previous
grade.
Read the notes below and do the best that you can to absorb it within you.
Do not forget that there will be a short quiz after!
Direct and indirect speech

Direct and indirect speech can be a source of confusion for English learners. Let's first define the
terms, then look at how to talk about what someone said, and how to convert speech from direct
to indirect or vice-versa.

You can answer the question What did he say? in two ways:

 by repeating the words spoken (direct speech)

 by reporting the words spoken (indirect or reported speech).

Direct Speech
Direct speech repeats, or quotes, the exact words spoken. When we use direct speech in writing,
we place the words spoken between quotation marks (" ") and there is no change in these words.
We may be reporting something that's being said NOW (for example a telephone conversation), or
telling someone later about a previous conversation.
Examples

 She says, "What time will you be home?"

 She said, "What time will you be home?" and I said, "I don't know! "
 "There's a fly in my soup!" screamed Simone.
 John said, "There's an elephant outside the window."

Indirect speech
Reported or indirect speech is usually used to talk about the past, so we normally change the
tense of the words spoken. We use reporting verbs like 'say', 'tell', 'ask', and we may use the word
'that' to introduce the reported words. Inverted commas are not used.

She said, "I saw him." (direct speech) = She said that she had seen him. (indirect speech)

"That" may be omitted:

She told him that she was happy. = She told him she was happy.

"Say" and "tell"

Use 'say' when there is no indirect object:
He said that he was tired.

Always use 'tell' when you say who was being spoken to (i.e. with an indirect object):
He told me that he was tired.

"Talk" and "speak"

Use these verbs to describe the action of communicating:
He talked to us.
She was speaking on the telephone.

Use these verbs with 'about' to refer to what was said:

He talked (to us) about his parents.

 
[ CITATION Dir \l 1033 ]

Directions: Fill in the blanks. Choose the appropriate word/s from the ones in the parenthesis.

1. I told him ................................. worry. (not to, to not)

2. The teacher advised us .................................. hard. (to work, working, to working)
3. She asked me if I ..................................... for the drinks. (have paid, paid, had paid)
4. He told us ...................................... for him. (to wait, to waiting, waiting)
5. He told us ………………………………. about him. (to not worry, not to worry)
6. He asked me if I …………………………… them. (know, knew, had known)
7. I asked him if I …………………………… sit there. (can, could)
8. They asked me ........................................ quitting my job. (that I was, if I was, if was I)
9. I told him ........................................ not interested. (what I was, that I was, that was I)
10. She said that no one .......................................... her when she was in trouble. (helped, have helped,
had helped)
11. He asked me how ………………………….. react if I won the jackpot. (I would, would I)
12. They motivated her …………………………… again. (to try, to trying, trying)

Answers
1. I told him not to worry.
2. The teacher advised us to work hard.
3. She asked me if I had paid for the drinks.
4. He told us to wait for him
5. He told us not to worry about him.
6. He asked me if I knew them.
7. I asked him if I could sit there.
8. They asked me if I was quitting my job.
9. I told him that I was not interested.
10. She said that no one had helped her when she was in trouble.
11. He asked me how I would react if I won the jackpot.
12. They motivated her to try again.
[ CITATION Dir20 \l 1033 ]

||Activity 18. MOODals

Directions:
1. Analyze the highlighted words in the given statements. Observe the functions and the use of each
modal.

a. Not a single man could escape.

b. So, war should always be avoided for world peace.
c. The wise men counted that the human civilization would be ruined to the bit, if a war ever takes place.

Process Questions:
1. Based on the given samples, what are modals?

2. What are the functions of modals in the given statements?

3. How are modals used in each sentence?

4. In what way modals help out in making a persuasive text?

5. What make modals significant in understanding a given statement?

What are modal verbs?

Modals (also called modal verbs, modal auxiliary verbs, modal auxiliaries) are special verbs which behave
irregularly in English. They are different from normal verbs like "work, play, visit..." They give additional
information about the function of the main verb that follows it. They have a great variety of communicative
functions.

Here are some characteristics of modal verbs:

 They never change their form. You can't add "s", "ed", "ing"...
 They are always followed by an infinitive without "to" (e.i. the bare infinitive.)
 They are used to indicate modality allow speakers to express certainty, possibility, willingness,
obligation, necessity, ability

List of modal verbs

Here is a list of modal verbs:

can, could, may, might, will, would, shall, should, must

The verbs or expressions dare, ought to, had better, and need not behave like modal auxiliaries to a large
extent and my be added to the above list
Use of modal verbs:
Modal verbs are used to express functions such as:

1. Permission
2. Ability
3. Obligation
4. Prohibition
5. Lack of necessity
6. Advice
7. possibility
8. probability

Examples of modal verbs

Here is a list of modals with examples:

Modal Verb Expressing Example

must Strong obligation You must stop when the traffic lights turn red.
logical conclusion / Certainty He must be very tired. He's been working all day
long.
must not prohibition You must not smoke in the hospital.
can ability I can swim.
permission Can I use your phone please?
possibility Smoking can cause cancer.
could ability in the past When I was younger I could run fast.
polite permission Excuse me, could I just say something?
possibility It could rain tomorrow!
may permission May I use your phone please?
possibility, probability It may rain tomorrow!
might polite permission Might I suggest an idea?
possibility, probability I might go on holiday to Australia next year.
need not lack of necessity/absence of I need not buy tomatoes. There are plenty of
obligation tomatoes in the fridge.
should/ought to 50 % obligation I should / ought to see a doctor. I have a terrible
headache.
advice You should / ought to revise your lessons
logical conclusion He should / ought to be very tired. He's been
working all day long.
had better advice You 'd better revise your lessons

Remember
Modal verbs are followed by an infinitive without "to", also called the bare infinitive.
Examples:

 You must stop when the traffic lights turn red.

 You should see to the doctor.
 There are a lot of tomatoes in the fridge. You need not buy any.

Source: [CITATION Mod \l 1033 ]

For Online: Activity 19-21 will be thru a webinar

||Activity 19. Monologue 1

Congratulations for accomplishing the basic grammar tools which will equip you in composing your best
masterpiece!

This time will be full of “how to” and “what to”. You are now ready so good luck!

After the notes found below is a FRAYER’S Model. Complete it after you have read the things you have to
know about monologue.

What is a Monologue?
A monologue is a speech given by a single character in a story. In drama, it is the vocalization of a
character’s thoughts; in literature, the verbalization. It is traditionally a device used in theater—a speech to
be given on stage—but nowadays, its use extends to film and television.

II. Example of a Monologue

A monologue speaks at people, not with people. Many plays and shows involving performers begin with a
single character giving a monologue to the audience before the plot or action begins.

For example, envision a ringleader at a circus…

Example 1
Ladies and Gentleman, Boys and Girls!
Tonight, your faces will glow with wonder
As you witness some of the greatest acts ever seen in the ring!
Beauties and beasts, giants and men, dancers and daredevils
Will perform before your very eyes
Some of the most bold and wondrous stunts
You’ve yet beheld!
Watch, now,
As they face fire and water,
Depths and heights,
Danger and fear…
The ringleader’s speech is directed to the audience. His monologue helps him build anticipation and
excitement in his viewers while he foreshadows some of the thrills the performance will contain.

Example 2
A monologue doesn’t have to be at the start or end of a play, show, or movie—on the contrary, they occur
all of the time. Imagine a TV series about a group of young friends, and on this episode, one friend has
been being a bully. The group is telling jokes about some of the things the bully has done to other kids at
school, when one girl interrupts everyone…

You know, I don’t think what you are doing is funny. In fact, I think it is sad. You think you’re cool because
you grew faster than some people, and now you can beat them up? What is cool about hurting people? We
are all here pretending that you’re a leader, when really, I know that you’re nothing but a mean bully! All
this time I’ve been scared to say that, but just now, I realized that I’m not afraid of bullies—so, I won’t be
afraid of you!

When a conversation stops and shifts focus to a single character’s speech, it is usually a sign of a
monologue. In this situation, a group conversation between friends turns into one girl’s response; a
monologue addressing bullying and the bully himself.
 
III. Types of Monologues
A. Soliloquy
A speech that a character gives to himself—as if no one else is listening—which voices his inner thoughts
aloud. Basically, a soliloquy captures a character talking to himself at length out loud. Of course, the
audience (and sometimes other characters) can hear the speech, but the person talking to himself is
unaware of others listening. For example, in comedy, oftentimes a character is pictured giving themselves a
lengthy, uplifting speech in the mirror…while a friend is secretly watching them and laughing.
The soliloquy is one of the most fundamental dramatic devices used by Shakespeare in his dramas. 

B. Dramatic Monologue
A speech that is given directly to the audience or another character. It can be formal or informal, funny or
serious; but it is almost always significant in both length and purpose. For example, a scene that captures a
president’s speech to a crowd exhibits a dramatic monologue that is both lengthy and important to the
story’s plotline. In fact, in TV, theater ,and film, all speeches given by a single character—to an audience,
the audience, or even just one character—are dramatic monologues.

C. Internal Monologue
The expression of a character’s thoughts so that the audience can witness (or read, in literature) what is
going on inside that character’s mind. It is sometimes (depending on the style in) referred to as “stream-of-
consciousness.” In a piece of writing, internal monologues can often be easily identified by italicized blocks
of text that express a character’s inner thoughts. On TV and in films, internal monologues are usually
spoken in the character’s voice, but without seeing him actually speak; thus giving the feeling of being able
to hear his thoughts.
 
IV. Importance of Monologues
Monologues give the audience and other characters access to what a particular character is thinking, either
through a speech or the vocalization of their thoughts. While the purpose of a speech is obvious, the latter
is particularly useful for characterization: it aids the audience in developing an idea about what the
character is really thinking, which in turn helps (or can later help) explain their previous (or future) actions
and behavior.
 
V. Examples of Monologue in Literature
Example 1
As a technique principally used on the stage (or screen), the best examples of monologues in literature are
found in dramatic literature, most notably in Shakespeare’s dramas. Below is selection of arguably the most
famous monologue in literature—soliloquy, specifically—from Act III Scene I of the tragedy Hamlet. This
soliloquy begins with the well-known words “To be, or not to be- that is the question:”
 
HAMLET
To be, or not to be- that is the question:
Whether ’tis nobler in the mind to suffer
The slings and arrows of outrageous fortune
Or to take arms against a sea of troubles,
And by opposing end them. To die- to sleep-
No more; and by a sleep to say we end
The heartache, and the thousand natural shocks
That flesh is heir to. ‘Tis a consummation
Devoutly to be wish’d. To die- to sleep.
To sleep- perchance to dream: ay, there’s the rub!
For in that sleep of death what dreams may come
When we have shuffled off this mortal coil,
Must give us pause. There’s the respect
That makes calamity of so long life.

This scene reveals to the audience that Hamlet is contemplating suicide. His words express an internal
thought process that we would normally not be able to witness. The only reason that Shakespeare has
Hamlet speak these words out loud is so that the audience—not anyone else in the play—can hear them.
He uses a soliloquy to share Hamlet’s unstable state of mind and disquieting thoughts.

Example 2
In Mark Twain’s short story “The Celebrated Jumping Frog of Calaveras County,” the  narrator is sent to find
a man named Simon Wheeler, who will tell him a story. After the narrator introduces the premise, he
explains that he let Wheeler “go on in his own way, and never interrupted him once.” He follows with
Wheeler’s story, told in Wheeler’s voice, which he achieves through the shift in the style of speech. Below
is a small piece of the story:

There was a feller here once by the name of Jim Smiley, in the winter of ’49—or may be it was the spring
of ’50—I don’t recollect exactly, somehow, though what makes me think it was one or the other is because
I remember the big flume wasn’t finished when he first came to the camp; but any way he was the curiosest
man about always betting on any thing that turned up you ever see, if he could get anybody to bet on the
other side; and if he couldn’t, he’d change sides. Any way that suited the other man would suit him—any
way just so’s he got a bet, he was satisfied. But still he was lucky, uncommon lucky; he most always come
out winner.

Mark Twain was a literary genius when it came to storytelling—he could make the page seem like a stage
with the way he used spelling and grammar to bring a character’s accent and personality to life.
Wheeler’s story is a dramatic monologue, which Twain used to achieve the feeling of a real storytelling
exchange between two people. His employment of this dramatic technique in this short story makes the
readers feel like they are hearing Wheeler’s story firsthand.
 VI. Examples of Monologue in Pop Culture
Example 1
Oftentimes, a conversation occurs between characters and then shifts to one character giving a significant
speech. This is a popular way of inserting a monologue into a scene. In this scene from Season 5 Episode
10 of the TV horror The Walking Dead, the group is talking around the campfire:
 
Every day he woke up and told himself, ‘Rest in peace; now get up and go to war,’” says Rick. “After a few
years of pretending he was dead, he made it out alive. That’s the trick of it, I think. We do what we need to
do, and then we get to live. No matter what we find in D.C., I know we’ll be okay. This is how we survive:
We tell ourselves that we are the walking dead.
-Rick Grimes
Here, Rick’s monologue begins when the dialogue ceases to be a group discussion. Now he alone is
speaking to the group—he is giving a dramatic monologue.

Example 2
In one of the most popular Christmas movies to date, A Christmas Story, the protagonist Ralphie is also the
narrator. However, the narration is internal: Ralphie isn’t speaking directly to us, but he is openly letting us
in on his thoughts.

Site: Youtube
Video name: Soap | A Christmas Story | TBS
Link: https://bit.ly/2XbTr1Z

As you’ve now heard in this clip, Ralphie’s voice is that of an adult man, and that’s why the narration style
in this film is unique—adult Ralphie is simultaneously reflecting on the past  and reenacting present-
Ralphie’s thoughts. The mental debate he has about who taught him the curse word and what to tell his
mother is an internal monologue: we can hear his thoughts; thus the situation is funnier and more thought
provoking.
 
VIII. Related Terms
Aside
An aside is when a character briefly pauses to speak directly to the audience, but no other characters are
aware of it. It is very similar to a monologue; however, the primary difference between the two is that
an aside is very short; it can be just one word, or a couple of sentences, but it is always brief—monologues
are substantial in length. Furthermore, an aside is always said directly to the audience, usually
accomplished (in film and television) by looking directly into the camera. As an example, asides are a key
part of the style of the Netflix series House of Cards; the main character Francis Underwood often looks
directly into the camera and openly addresses the audience as if they are present, while the other
characters do not know that the audience exists.

Dialogue
While a monologue is a given by one character (“mono”=single), a dialogue is a conversation that occurs
between two or more characters. Monologues and dialogues are similar in that they both deliver language
to the audience. For instance, in a movie, a race winner’s speech is a monologue, however, a speech
collectively given by several members of a team is dialogue. Both techniques can address the audience,
but the difference lies in how many people are speaking.
Conclusion
In conclusion, monologues (and dialogues) are arguably the most fundamental parts of onstage drama and
dramatic literature. Without them, essentially only silent film and theater could exist, as monologues provide
the only way for the audience to witness a character’s thoughts.

[ CITATION Mon \l 1033 ]

Definition Facts/Characteristics

Examples
Monologue Non-Examples

Have your initial thoughts about monologue changed? If yes, share your thoughts here…
||Activity 20. Monologue 2
The next notes will guide you in three ways all the ones you need to know about preparing to polish your
composition.

Do not forget to take down the most relevant things you need to.
Dramatic monologues can be tricky to write as they must provide character detail and plot without bogging
down the play or boring the audience. An effective dramatic monologue should express the thoughts of one
character and add emotion or intrigue to the rest of the play. You may decide to write a monologue to add
character detail to the play or to raise the stakes of the play overall. You should start by structuring the
monologue so you can then write and polish the monologue to perfection.
Part 1 - Structuring the Monologue
1. Decide the perspective of the monologue. The monologue should be from the perspective of one
character in the play. Focusing on the point of view of one character can help to give the monologue
purpose and a distinct character voice.
 You can write a monologue for the main character to give them a chance to speak on their own, or
for a minor character to give them a chance to finally express themselves.

2. Determine the purpose of the monologue. Consider what the point of the monologue is, as it should
serve a key purpose within the rest of the play. The monologue should reveal something to the audience
that cannot be revealed through dialogue or character interaction. This could be a story, a secret, an
answer to an ongoing questions in the play, or an emotional release by a character. Your monologue
should serve a clear purpose and act as a revelation for the speaker.
 The monologue should add tension, conflict, or emotion to the rest of the play and give the
audience new insight into an existing issue or problem.
 For example, if there's a character who has been mute during the first act, they could have a
monologue in the second act where they reveal why they are mute.
3. Decide who will be addressed in the monologue. You should determine who your speaker will be talking
to or addressing in the monologue so you can frame the monologue with the audience in mind. The
monologue may be addressed to a specific character in the play, the speaker may be addressing
themselves, or they may be addressing the audience.
 A monologue can address a specific character, especially if the speaker wants to express their
emotions or feelings to them. The character can also express their thoughts or feelings about an
event for the audience's benefit.

4. Consider the beginning, middle, and end of the monologue. A good monologue will have a clear
beginning, middle and end. Like a mini story, the monologue should also include a clear shift from the
beginning to the end, where the speaker has a revelation or a realization. Your monologue should begin
and end with purpose.
 Create an outline that includes a beginning, middle, and end for the monologue. Note what will
occur in each stage of the monologue.
 For example, you may write: “Beginning: Elena the mute speaks. Middle: Elena tells us why and
how she became mute. Ending: Elena realizes she prefers staying silent to saying her thoughts
out loud.”
 Alternatively, write the first and last lines of the monologue, then create the content between
them to generate ideas and thoughts for the monologue.

Part 2- Writing your Monologue

1. Start the monologue with a hook. Your monologue should get the listener’s attention right away and draw
them in. You want to hook your audience so they are willing to listen to your character’s monologue. The
opening line of your monologue will set the tone for the rest of the piece and give the audience a sense of
the character voice’s and language.
 You may start the monologue with a big revelation right away, such as Christy’s monologue in John
Millington Synge’s The Playboy of the Western World.[5]
 Christy's monologue tells the audience right away that the speaker killed his father. It then
discusses the events leading up to the murder and how the speaker feels about his actions.

2. Use your character’s voice and language. The monologue should be written from the perspective of one
character and should feature their unique language and voice. A strong character voice in a monologue can
go a long way to adding color, interest, and perspective to the piece. Use your character’s voice when you
write the monologue and include any slang or particular phrasing they might use.
  For example, the “My Princesa” monologue is written from the perspective of a Latino father. He
uses terms and sayings that are specific to him, such as “whoop his ass” and “Oh hell naw!”
These make the monologue engaging and add character detail.
 Another example is The Duchess of Berwick’s monologue. Wilde uses the character’s casual,
conversational tone to reveal plot and keep the audience engaged.

3. Allow your character to reflect on the past and the present. Many monologues discuss the present action
of the play by reflecting back on past events. You should strive to have a balance between reflection on the
past and discussion of the present in your monologue. The past details should illuminate an event or
character dilemma in the present. The character should try to use memory to address an issue in the
present.
 For example, in his monologue, Christy addresses his father's murder by reflecting on past choices
and moments that may have lead to his pivotal decision.

4. Add description and detail. Keep in mind your audience will not have the luxury of flipping to a visual
image of what is happening in the monologue. All they can rely on is the words you use in the monologue
to describe a certain moment or a certain detail. You should try to tie in as many of senses as you can in
your monologue so the audience becomes immersed in the events in the monologue.
 For example, Jean’s monologue opens with striking images of his childhood, “I lived in a hovel
provided by the state, with seven brothers and sisters and a pig; out on a barren stretch where
nothing grew, not even a tree...”
 The details in the monologue help to paint a clear picture of Jean’s childhood hovel. They also add
to his character and help the reader get a better sense of his past.

5. Include a moment of discovery. Your monologue should include a moment of discovery or a revelation.

This could be a moment of discovery for the speaker or a moment of discovery for the audience. Having a
revelation in the monologue will give it purpose. The revelation should also up the stakes of the play so it
contributes to the play as a whole.
 For example, in his monologue, Christy reveals that his father was not a very considerate person or
a good father. He explains that he did the world a favor by killing his father

6. Have a button ending. The monologue should have a clear ending or a button ending, where the
thoughts expressed in the monologue are brought to a conclusion. The speaker should accept something,
overcome an issue or obstacle, or make a decision about a conflict in the play. The decision moment
should be clear and the speaker should speak with decisive action by the end of the monologue.
  For example, in his monologue, Jean reveals that he tried to kill himself because he was born too
low to be with Miss Julie. He then ends the monologue with a reflection on what he learned about
his feelings for Miss Julie.

Part 3 – Polishing the Piece

1. Cut down the monologue to the essentials. An effective monologue will not be too long or expansive. It
should include the essentials of the monologue and hit the reader with just enough information to move the
play forward. You should read over the monologue and revise it so it does not seem long-winded or
overdone.
 Remove any redundant lines or awkward phrases. Cut out any words that do not add to the
character’s voice or language. Include only the essential details in the monologue.

2. Read the monologue out loud. A monologue is written to be read out loud to an audience so you should
test its effectiveness by reading it out to yourself or to a sympathetic audience. You should listen to ensure
the monologue has a distinct character voice and uses language that suits the speaker.
 Note moments where the monologue is confusing or verbose. Simplify these areas so the
monologue is easy to follow for the listener.

3. Have an actor perform the monologue for you. If possible, you should try to find an actor who can
perform the monologue with you as the audience. You may ask a friend to perform the monologue or hire
an actor. Getting a professional to read your monologue can help bring it to life and allow you to revise it for
the stage.
[ CITATION How20 \l 1033 ]

Was it a good read? Do not worry about performing. Mastering how to make your piece will lead
you to performing well.

||Activity 21. Monologue 3

Now you have already known fundamental knowledge about monologue. Through the Frayer’s Model, you
have deepen your acquired insight. This time, you will be dealing with some tips on how to deliver
monologue.

Read and absorb slowly but surely for definitely it will be your best guide once you perform yours.
Tips for Performing Your Best Monologue
At Spotlight’s recent Open House events, Joe Richardson led a wonderful session on auditioning for drama
school. We went along to hear all his great advice on how to get your monologue into the best shape
possible, and nail that audition!

Avoid fidgeting beforehand

Make sure you’re aware of how you are behaving before you even get started. “We notice how people
present themselves,” says Joe, so make sure you’re ready and appearing as professional as possible.

Don’t stare down the panel - pick a specific point for delivery!
Decide who you are directing the monologue to - is it someone in the audience, is it a spot on the wall?
Wherever you need to direct it, keep it consistent. “You’re only ever talking to one of four things: yourself,
the audience, another character or god - be clear who you are speaking to,” Joe says. He also warns:
“Don’t eyeball me!” Your panellists will want to make notes, so staring them down may make them a little
uncomfortable, “[Looking] above the panel’s eye-line is fine.”

Pick from a play

Don’t do a song or recite a poem, or do anything else that is not a play, unless that’s what has been asked
for. A scene from your favourite film is also probably inappropriate. Stick to the brief!

Introduce or look for levels

Think about the levels of emotion in the piece; where does the character start? Where do they end up? It’s
vital to really break down and think about the way the piece flows, how emotions are changing or what is
being realised, discovered or dissected in the language. As Joe says, “Make it seem like the first time the
piece has been spoken, every time.” That’s the big challenge for all actors - so it should be your focus!
Take the time to discuss the piece with somebody else if you can and compare interpretations.

Don't go over time

Seems very obvious, but it is essential. Make sure you time yourself before you get to the audition. Do not
go over! You might very well be stopped before you have a chance to finish. Remember: there are likely a
lot of other people being seen on the same day, so make your first impression a professional and respectful
one. Only take the time you’ve been allocated.

Try to find something unique

Be aware of picking well worn speeches - it can help to differentiate you if you pick something less obvious!
While some of the classic monologues in Shakespeare are classics for a reason, it can be risky to take on
something that many others in your age range/casting category are also likely to attempt. Think long and
hard about what it is that suits you as a person, and whether there’s something out there that can represent
you and set you apart.
Do your research
Monologues set in different times and places (or even contemporary pieces!) will often include some
contextual details, like names or places. Do your research and really think about what aspects of the
monologue are needed to deliver in a natural and authentic way. If your character mentioned their
hometown, for instance, and you can’t pronounce it, that’s definitely going to seem odd! If there are place
names mentioned, get on Google: make sure you know how to correctly pronounce them!

Show your personality

Try to show something that reflects you as a person, something that suits you. Ideally, you’d look for
something in your accent, that reflects your context - that doesn’t mean you shouldn’t stretch yourself and
your acting talents. But it does mean that if you’ve grown up in rural Scotland, a speech that is very much
catered to a valley girl of California is going to be a bit odd. Chances are the references will be a little
strained, the cadence might be a bit off. Think carefully about your type, your personality and the kinds of
characters you are really drawn to.

Take on any direction

Often, a panel will offer you some direction or ask you to repeat sections. Don’t deliver the monologue the
same way again - show that you have taken comments on board and are working to adapt or show new
sides of the material. Your adaptability and willingness to try is more important than whether you deliver the
new direction perfectly.

Don't worry about mistakes

Mistakes are fine, just as long as you keep working through them! The ability to pick yourself up and keep
going, or quickly get back into the zone, are helpful for your audition and will show you in a favourable light.
So don’t let a slip up stop you - everyone makes mistakes! The ability to be resilient is very important and
an attractive quality in any drama school candidate.
[ CITATION Chr \l 1033 ]

You can watch the video as well for supplementary input:

Site: Youtube
Video name: Performing a Monologue
Link: https://bit.ly/30LxCqH
||Activity 22 – Writing a Composition
Write your composition following these steps:
1. Prewrite or brainstorm on what you want to cover in the composition.
2. Draft your composition (based on the notes found on Activity 20)
3. Revise your composition using the given guidelines for revision.
4. Edit and proofread your composition using the checklist provided.
5. Submit your composition to your teacher or send it to anybody you know who can provide you with
objective feedback.
Step 1: Prewriting
1. Select a social or economic issue or any issue that deals with someone’s crisis (identity crisis, gender
crisis, mental health problems and the like)
2. After you are able to identify the issue you would like to serve as subject in your monologue piece,
review the biases, prejudices and fallacies that may come alone with the issue you have chosen.
3. Make sure you use the voices, speeches and modals in your composition appropriately.
4. You are limited to 3-5 paragraphs with no minimum or maximum sentences per paragraph.

Step 2: Write a draft of your composition.

Step 3: Revise your draft using the guide questions in the table that follows. Then revise the part that could
still be improved.

Questions Yes No
1. Does your composition show an issue?
2. Does your composition show bias, prejudice and fallacies?
3. Does your composition make a good use of voices, speeches and modals?
4. Do the body paragraphs have topic sentences that are well-supported?
5. Do you have an effective opening statement and a strong clincher?
6. Do you follow the conventions of grammar, spelling and punctuations?
7. Are the words you use appropriate for your target audience?

Write your revised composition here.

Step 4: Edit and proofread your composition following these steps:
A. Allow some time to pass before you edit and proofread your work. That way, you won’t be too tempted to
rush through the process.
B. Read your work slowly.
C. Double check the spelling with a dictionary.
D. Ask someone else to read your work. A new eye catches more mistakes.
E. Proofread one last time before making a clean copy of your work. Be guided by the checklist that follows:

Proofreading Checklist Yes No

1. Have I eliminated fragments, run-ons, and non-standard sentences?
2. Are my verb tenses used correctly and consistently?
3. Have I observed correct subject-verb agreement?
4. Have I observed correct pronoun-antecedent agreement?
5. Do all pronouns have clear antecedent?
6. Have I checked conjunctions for effectiveness and clarity?
7. Have I eliminated misplaced, dangling, and squinting modifiers?
8. Have I used correct capitalization?
9. Have I used all punctuation marks correctly?
10. Is my word usage correct?
11. Have I correctly used numerals or spelled out numbers?
12. Have I spelled all words correctly?

F. Go over your responses to the above checklist and prepare the final copy of your composition for
publishing.

Step 5: Send your composition and wait for feedback.

||Activity 23. The Final Countdown

Have you received your feedback so far? How did you find it?
In this activity, you will deliver the speech you made in the previous lesson. You are given the freedom to
choose what type of monologue you prefer. Read the tips again before delivering.
Follow the steps below and do your take one for your speech delivery.
1. In 2 – 3 minutes, video yourself delivering your speech.
2. Wear an appropriate attire.
3. You can glance once in a while when delivering your speech.
4. You can choose to send your video in any of the following platforms:
-Facebook Messenger -Email
-Save it in your external hard drive
The rubric and final delivery will be done after this activity. You have the entire week to send or save your
output.
Now that you are ready to deliver your speech, record your performance and do the same as you did in the
previous activity.
(A live performance will be done by those who chose online platform)

Dramatic Performance Assessment

Exceptional Good Fair Poor

4 3 2 1
Student possesses Student is in need of
Student possesses Student possesses little
exemplary skill and additional skills and
sufficient skill and mastery to no skill and/or mastery
mastery of all mastery of the
of all techniques needed of the techniques needed
techniques needed for techniques needed for
 Mastery a successfully
for a successfully
a successfully
for a successfully
delivered dramatic delivered dramatic
delivered dramatic delivered dramatic
performance. performance.
performance. performance.

Voice *Student consistently *Student enunciates *Student strives to *Student exhibits poor
uses their voice clearly. enunciate and add vocal enunciation and no
expressively and *Student varies voice variations, but overall variations in volume
articulately. pitch and tone, and effect is flimsy - due to and/or pitch.
*Student projects their reflects some level of either too much or too
voice clearly. expressiveness. little expression.
*Student utilizes their
voice to include
variations of pitch,
rate, volume, and
tone consistent to
their character.

Character *Character's *Character's motivation is *Character's motivation *Student is doing little

Development motivation is well- somewhat defined. is lacking. more than reading from
defined. *Depth and range of *There is little depth or the book.
*Depth and range of emotion is adequate. range of emotion.
emotion is ongoing. *Life and world of *Life and world of
*Life and world of character is superficial, character is not shown
character is shown but adequately displayed by actor's
brilliantly through through actor's performance.
actor's performance. performance.

Movement *Student shows *Student uses appropriate *Student strives to use *Student employs little to
phenomenal use of use of body movement appropriate use of no movement and facial
movement and facial and facial expression to body movement and expression in the scene.
expressions to enhance character facial expression to *Student's moves are
enhance character. *Student's movements enhance character but without purpose.
*Student's usually reflect purpose. overall affect is flimsy -
movements always due to either too much
reflect purpose. or too little expression.
*Student's movements
rarely reflect purpose.

Preparation *Student's lines are *Student delivers lines *Student has trouble *Student cannot perform
delivered flawlessly and hits marks well and delivering lines without without the book.
from memory. with few errors. *Student calling for them. *Student has no fluidity
*Student fluidly spent an appropriate *Student lacks any and is obviously not
delivers her/his lines amount of time preparing fluidity in movement prepared.
while hitting their for project. and delivery of lines;
marks confidently. did not spend nearly
*Student obviously enough time in
spent a significant preparation.
amount of time on
project and came to
class ready and
prepared.

Focus *Student stays *Student weaves in and *Student never truly *Student makes little to
completely immersed out of character slightly immerses enough into no attempt at staying in
in their character throughout performance. their character to any type of character.
throughout the entire *Student subtly breaks produce any kind of *Student lacks focus and
performance. focus when thinking of believability. seems unprepared.
*Student never breaks next line/cue or out of *Student's focus is
focus, even during obvious nervousness. easily broken; attention
missed lines/cues. wavers often.

Props
* Student has found * Student has found * Student has found * No props or costume
appropriate props and appropriate props and only minimal props and are present.
costume to enhance costume to enhance the costume. OR
the overall overall performance. * The props and * Props and costumes
performance. * Most props and costume costume are not are irrelevant to the
* All props and are relevant, appropriate relevant or appropriate monologue.
costume are relevant, and do not interfere with and tend to interfere
appropriate and do the overall presentation. with the overall
not interfere with the presentation.
overall presentation.
 [ CITATION iRu \l 1033 ]

||Activity 24. Rediscovering the Self

Now that you have finished this lesson, write about your thoughts using the prompts below:

Here is What: Describe one very important concept/skill that you learned during this lesson.

So What: How can you practice or use this concept/skill so you will know that you understand/remember
it?

Now What: How can you use this concept/skill to help you become a better reader, writer, or performer?

Your best critique is always you. Now do a self-monitoring of yourself and how well have you done in your
performance activities.
Self-Monitoring of Competency
I can… Very well Somewhat Hardly
1. Compose a full-length monologue
2. Employ appropriate use of modals
3. Formulate lines with active and
passive voices
4. Make a good use of direct and indirect
speeches in my lines
5.Use varied verbal and non-verbal
communication strategies when
performing a monologue

6. Produce the sounds of English

effectively when delivering lines in a
monologue

||Activity 24. Rediscovering the Self

In three sentences, how will you describe your learning experiences in this lesson? Can you now list down
the goals you achieve in this lesson? What do you need to do these goals will not be disregarded?
 Things I did well to achieve my goals are:

Things I need to keep working on to reach my goals

are:

After doing all the activities designed for you, it is now time to evaluate yourself using the reflection
organizer below:

What I did to make all my tasks What I learned in doing all the How will my output influence
meaningful? tasks given to me? others as they face and
rediscover their own self?