University of Eastern Pangasinan

Binalonan, Pangasinan

Module 2
Elements of a Short Story and Poetry

Survey of Philippine Literature in English

Course Code: __________
Name: _________________________________________________________________ Course Year: _______________________
Date and Time Allotment: ___________________________________________

Introduction

This module entitled Elements of Short Story and Poetry. These elements will help the students appreciate and understand literature.

Learning Objectives
At the end of the lesson, you are expected to:
1. be familiar with the elements of short story;
2. distinguish the literary elements conveyed after reading and understanding a story.
3. Identify the importance of each element in constructing poetry
4. Analyze a poem using the elements of poetry
5. Enhance writing skills through writing a poem applying elements of poetry

A short story is a short work of fiction. Fiction, as you know, is prose writing about imagined events and characters. Prose writing differs
from poetry in that it does not depend on verses, meters or rhymes for its organization and presentation.
(https://users.aber.ac.uk/jpm/ellsa/ellsa_elements.html)
Elements of Short Story
I. The Characters- the people or sometimes the animals who participate in the action of a literary work.
Methods of Characterization:
1. Direct or Expository method- the author or another character describes a character with a straightforward enumeration of his traits.
2. Indirect or Dramatic method- the character acts out his personality by his physical appearance, speech, action and recorded thoughts
and in juxtaposition with other characters.
Kinds of characters that can be portrayed:
1. According to Roles played
a. Major Characters- those that make important decisions
1. PROTAGONIST – the central character in the story. He is called the hero when he embodies certain noble ideas of man.
2. ANTAGONIST – the character or force against which the protagonist is pitted. An antagonist may be another character,
society, nature or one side of the character that battles another side in an internal conflict.
b. Minor/Supporting Characters –
1. Confidant – a character to whom the protagonist or another character reveals his reflections or hopes.
2. Foil – a character who provides a striking contrast to another character
3. Stock/type – a character who shows qualities of a national, social, or occupational group which he belongs.
2. According to fullness of development
a. Flat – a character who is simply depicted; stock; characterized by one or two traits; can be summed up in one sentence; sketched in
briefest outlines
b. Round – a character who is three dimensional; complex; many-sided; a fully developed personality
3. According to changes undergone in the story
a. Static – a character who does not change; the same sort of person from the beginning to the end of the story.
b. Developing/Dynamic – a character who undergoes a permanent change in some aspects of his personality. The change may be large
or small, for better or for worse but it is something basic or important; it is more than just a change in condition or a minor change in
opinion. Any development will be shown in decisions involving moral choices the character makes.
II. Settings – it is the locale or period in which the action of the short story, play, novel or the film takes place.
III. The Plot – a sequence of interrelated actions and events in the story. It is considered the framework of the story.
Parts of a Plot:
1. Exposition/Introduction
a. gives the setting of the story
b. introduces the main characters
c. gives background information on what took place before the actual start of the story
d. gives the situation out of which the conflict develops
2. Complication/Rising Action – series of events that are related to the conflict or problem to be solved
CONFLICT – clash of opposing forces in the story
Kinds of Conflict
a. External conflict – the clash of the characters with the forces outside him, natural social or both
b. Internal Conflict – the clash forces within the character
3. Climax/Turning point – the highest point of interest in the story. The conflict reaches a height and may turn for the better or for the
worse
4. Resolution/Falling action – the conflict is solved
5. Conclusion/End – action ends in either success or failure for the main character
IV. Point of View – the narrative method used in a short story, novel or nonfiction selection.
Most Common Points of View:
a. First Person Point of View – the narrator is a character in the story, narrating the actions as he understands it. The first person
POV is indicated by the pronoun “I”.
b. Third Person Point of View – it is indicated by the pronouns he, she, and they. A third person narrator is not a participant in
the action and thus maintains a certain distance from the characters.
c. Omniscient Point of View – the narrator is all-knowing about the thoughts and feelings of the characters. With this point of
view, the writer can reveal the emotional responses of all the characters and can comment at will on the events taking place.
V. Plot Devices
1. Flashback – the entire scene is shifted to an earlier time by means of recollections of a character, the narrator’s commentary or a
dream episode.
2. Foreshadowing – a writer’s use of hints or clues to indicate events that will occur later in the narrative.
VI. Theme – it is the central or dominating idea in the literary work
 A theme may be stated or implied
 Theme is not the same as the lesson of the story
 A theme is an idea the author returns to time and again. It becomes one of the most important ideas in the story.
VII. Mood – it is the feeling or atmosphere a writer/author creates for the reader. The choice of settings, objects, details, images, and
words all contribute towards creating a specific mood of a story. It is the emotional impact felt by the reader of the work.
VIII. Tone – the attitude a writer takes towards a subject. All the elements in a work of literature together create its tone, which might be
humorous, serious, bitter, angry or detached among other possibilities.
IX. Moral – an exhortation to good behavior; some rule of conduct regarded as applicable to one’s life; may take form of maxim, a
proverbial formula that tells us how to get along in life.
X. Symbolism – a person, place or object that represents something beyond itself.

Developmental Activity
Read the short story. Then identify the elements in the story.
Footnote to Youth by Jose Garcia Villa
The sun was salmon and hazy in the west. Dodong thought to himself he would tell his father about Teang when he got home, after he
had unhitched the carabao from the plow, and let it to its shed and fed it. He was hesitant about saying it, but he wanted his father to
know. What he had to say was of serious import as it would mark a climacteric in his life. Dodong finally decided to tell it, at a thought
came to him his father might refuse to consider it. His father was silent hard-working farmer who chewed areca nut, which he had learned
to do from his mother, Dodong's grandmother. I will tell it to him. I will tell it to him. The ground was broken up into many fresh wounds
and fragrant with a sweetish earthy smell. Many slender soft worms emerged from the furrows and then burrowed again deeper into the
soil. A short colorless worm marched blindly to Dodong's foot and crawled calmly over it. Dodong go tickled and jerked his foot, flinging
the worm into the air. Dodong did not bother to look where it fell, but thought of his age, seventeen, and he said to himself he was not
young any more. Dodong unhitched the carabao leisurely and gave it a healthy tap on the hip. The beast turned its head to look at him
with dumb faithful eyes. Dodong gave it a slight push and the animal walked alongside him to its shed. He placed bundles of grass before
it lands the carabao began to eat. Dodong looked at it without interests. Dodong started homeward, thinking how he would break his
news to his father. He wanted to marry, Dodong did. He was seventeen, he had pimples on his face, the down on his upper lip already
was dark-these meant he was no longer a boy. He was growing into a man--he was a man. Dodong felt insolent and big at the thought
of it although he was by nature low in statue. Thinking himself a man grown Dodong felt he could do anything. He walked faster, prodded
by the thought of his virility. A small angled stone bled his foot, but he dismissed it cursorily. He lifted his leg and looked at the hurt toe
and then went on walking. In the cool sundown he thought wild you dream of himself and Teang. Teang, his girl. She had a small brown
face and small black eyes and straight glossy hair. How desirable she was to him. She made him dream even during the day. Dodong
tensed with desire and looked at the muscles of his arms. Dirty. This field work was healthy, invigorating but it begrimed you, smudged
you terribly. He turned back the way he had come, then marched obliquely to a creek. Dodong stripped himself and laid his clothes, a
gray undershirt and red kundiman shorts, on the grass. The he went into the water, wet his body over, and rubbed at it vigorously. He
was not long in bathing, then he marched homeward again. The bath made him feel cool. It was dusk when he reached home. The
petroleum lamp on the ceiling already was lighted and the low unvarnished square table was set for supper. His parents and he sat down
on the floor around the table to eat. They had fried fresh-water fish, rice, bananas, and caked sugar. Dodong ate fish and rice, but didnot
partake of the fruit. The bananas were overripe and when one held them they felt more fluid than solid. Dodong broke off a piece of the
cakes sugar, dipped it in his glass of water and ate it. He got another piece and wanted some more, but he thought of leaving the
remainder for his parents. Dodong's mother removed the dishes when they were through and went out to the batalan to wash them. She
walked with slow careful steps and Dodong wanted to help her carry the dishes out, but he was tired and now felt lazy. He wished as he
looked at her that he had a sister who could help his mother in the housework. He pitied her, doing all the housework alone. His father
remained in the room, sucking a diseased tooth. It was paining him again, Dodong knew. Dodong had told him often and again to let the
town dentist pull it out, but he was afraid, his father was. He did not tell that to Dodong, but Dodong guessed it. Afterward Dodong himself
thought that if he had a decayed tooth he would be afraid to go to the dentist; he would not be any bolder than his father. Dodong said
while his mother was out that he was going to marry Teang. There it was out, what he had to say, and over which he had done so much
thinking. He had said it without any effort at all and without self-consciousness. Dodong felt relieved and looked at his father expectantly.
A decrescent moon outside shed its feeble light into the window, graying the still black temples of his father. His father looked old now.
"I am going to marry Teang," Dodong said.His father looked at him silently and stopped sucking the broken tooth. The silence became
intense and cruel, and Dodong wished his father would suck that troublous tooth again. Dodong was uncomfortable and then became
angry because his father kept looking at him without uttering anything.

"I will marry Teang," Dodong repeated. "I will marry Teang." His father kept gazing at him in inflexible silence and Dodong fidgeted on his
seat. "I asked her last night to marry me and she said...yes. I want your permission. I... want... it...." There was impatient clamor in his
voice, an exacting protest at this coldness, this indifference. Dodong looked at his father sourly. He cracked his knuckles one by one,
and the little sounds it made broke dully the night stillness. "Must you marry, Dodong?" Dodong resented his father's questions; his father
himself had married. Dodong made a quick impassioned easy in his mind about selfishness, but later he got confused. "You are very
young, Dodong." "I'm... seventeen." "That's very young to get married at." "I... I want to marry...Teang's good girl." "Tell your mother," his
father said. "You tell her, tatay." "Dodong, you tell your inay." "You tell her." "All right, Dodong." "You will let me marry Teang?"

"Son, if that is your wish... of course..." There was a strange helpless light in his father's eyes. Dodong did not read it, too absorbed was
he in himself. Dodong was immensely glad he had asserted himself. He lost his resentment for his father. For a while he even felt sorry
for him about the diseased tooth. Then he confined his mind to dreaming of Teang and himself. Sweet young dream.... Dodong stood in
the sweltering noon heat, sweating profusely, so that his camiseta was damp. He was still like a tree and his thoughts were confused.
His mother had told him not to leave the house, but he had left. He had wanted to get out of it without clear reason at all. He was afraid,
he felt. Afraid of the house. It had seemed to cage him, to compares his thoughts with severe tyranny. Afraid also of Teang. Teang was
giving birth in the house; she gave screams that chilled his blood. He did not want her to scream like that, he seemed to be rebuking him.
He began to wonder madly if the process of childbirth was really painful. Some women, when they gave birth, did not cry. In a few
moments he would be a father. "Father, father," he whispered the word with awe, with strangeness. He was young, he realized now,
contradicting himself of nine months comfortable... "Your son," people would soon be telling him. "Your son, Dodong." Dodong felt tired
standing. He sat down on a saw horse with his feet close together. He looked at his callused toes. Suppose he had ten children... What
made him think that? What was the matter with him? God! He heard his mother's voice from the house: "Come up, Dodong. It is over."
Of a sudden he felt terribly embarrassed as he looked at her. Somehow he was ashamed to his mother of his youthful paternity. It made
him feel guilty, as if he had taken something no properly his. He dropped his eyes and pretended to dust dirt off his kundiman shorts.
"Dodong," his mother called again. "Dodong." He turned to look again and this time saw his father beside his mother. "It is a boy," his
father said. He beckoned Dodong to come up.

Dodong felt more embarrassed and did not move. What a moment for him. His parents' eyes seemed to pierce him through and he felt
limp. He wanted to hide from them, to run away. "Dodong, you come up. You come up," his mother said. Dodong did not want to come
up and stayed in the sun. "Dodong. Dodong." "I'll... come up." Dodong traced tremulous steps on the dry parched yard. He ascended the
bamboo steps slowly. His heart pounded mercilessly in him. Within, he avoided his parents’ eyes. He walked ahead of them so that they
should not see his face. He felt guilty and untrue. He felt like crying. His eyes smarted and his chest wanted to burst. He wanted to turn
back, to go back to the yard. He wanted somebody to punish him. His father thrust his hand in his and gripped it gently. "Son," his father
said. And his mother: "Dodong..." How kind were their voices. They flowed into him, making him strong. "Teang?" Dodong said. "She's
sleeping. But you go in..." His father led him into the small sawali room. Dodong saw Teang, his girl wife, asleep on the papag with her
black hair soft around her face. He did not want her to look that pale... Dodong wanted to touch her, to push away that stray wisp of hair
that touched her lips, but again that feeling of embarrassment came over him and before his parents he did not want to be demonstrative.
The hilot was wrapping the child, Dodong heard it cry. The thin voice pierced him queerly. He could not control the swelling of happiness
in him. You give him to me. You give him to me," Dodong said. * * * Blas was not Dodong's child. Many more children came. For six
successive years a new child came along. Dodong did not want any more children, but they came. It seemed the coming of children
could not be helped. Dodong got angry with himself sometimes. Teang did not complain, but the bearing of children told on her. She was
shapeless and thin now, even if she was young. There was interminable work to be done. Cooking. Laundering. The house. The children.
She cried sometimes, wishing she had not married. She did not tell Dodong this, not wishing him to dislike her. Yet she wished she had
not married. Not even Dodong, whom she loved. There has been another suitor, Lucio, older than Dodong by nine years, and that was
why she had chosen Dodong. Young Dodong. Seventeen. Lucio had married another after her marriage to Dodong, but he was childless
until now. She wondered if she had married Lucio, would she have borne him children. Maybe not either. That was a better lot. But she
loved Dodong... Dodong whom life had made ugly. One night, as he lay beside his wife, he roe and went out of the house. He stood in
the moonlight, tired and querulous. He wanted to ask questions and somebody to answer him. He wanted to be wise about many things.
One of them was why life did not fulfill all of Youth's dreams. Why it must be so.

Why one was forsaken... after Love. Dodong would not find the answer. Maybe the question was not to be answered. It must be so to
make Youth. Youth. Youth must be dreamful sweet. Dreamful sweet. Dodong returned to the house humiliated by himself. He had wanted
to know a little wisdom but was denied it. * * * When Blas was eighteen he came home one night very flustered and happy. It was late at
night and Teang and the other children were asleep. Dodong heard Blas's steps, for he could not sleep well of nights. He watched Blas
undress in the dark and lie down softly. Blas was restless on his mat and could not sleep. Dodong called his name and asked why he did
not sleep. Blas said he could not sleep. "You better go to sleep. It is late," Dodong said. Blas raised himself on his elbow and muttered
something in a low fluttering voice. Dodong did not answer and tried to sleep. "Itay ...," Blas called softly. Dodong stirred and asked him
what was it. "I am going to marry Tena.

She accepted me tonight." Dodong lay on the red pillow without moving. "Itay, you think it over." Dodong lay silent. "I love Tena and... I
want her." Dodong rose from his mat and told Blas to follow him. They descended to the yard, where everything was still and quiet. The
moonlight was cold and white. "You want to marry Tena," Dodong said. He did not want Blas to marry yet. Blas was very young. The life
that would follow marriage would be hard... "Yes." "Must you marry?" Blas's voice stilled with resentment. "I will marry Tena." Dodong
kept silent, hurt. "You have objections, Itay?" Blas asked acridly. "Son... n-none..." (But truly, God, I don't want Blas to marry yet... not
yet. I don't want Blas to marry yet....) But he was helpless. He could not do anything. Youth must triumph... now. Love must triumph...
now. Afterwards... it will be life. As long ago Youth and Love did triumph for Dodong... and then Life. Dodong looked wistfully at his young
son in the moonlight. He felt extremely sad and sorry for him.
 Characters and
Characterization

Settings

Plot

Conflict

Point of View

Theme

Lesson

Symbolism

ELEMENTS OF POETRY
1. Figurative language is a form of language use in which the writers and speakers mean something other than the literal meaning of their words.
Two figures of speech that are particularly important for poetry are simile and metaphor.
Simile
A simile is a comparison between two unlike things using the words "like," "as" or "than." Often used to highlight a characteristic of one of the items,
similes rely of the comparison and the audience's ability to create connections and make inferences about the two objects being discussed and
understand the one similarity they share.
Examples:
They fought like cats and dogs.
My dog has a bark as loud as thunder.
Her love for her children is as constant as the passing of time.
Metaphor
A metaphor is a direct comparison without using the comparative words "like" or "as." Metaphors equate the two things being compared to elicit a
stronger connection and deepen the meaning of the comparison. Some metaphors, which continue for several lines or an entire piece, are called
extended metaphors.
Examples:
Her smile is the sunrise.
Your son was a shining star in my classroom.
The tall trees were curtains that surrounded us during our picnic.

Personification
Personification is attributing human characteristics to nonhuman things. This personifies objects and makes them more relatable.
Examples:
The chair squealed in pain when the hammer smashed it.
The tree's limb cracked and groaned when lightning hit it.
My heart jumped when my daughter entered the room in her wedding dress.

Onomatopoeia
Onomatopoeia is the use of descriptive words that sound or mimic the noise they are describing.
Examples:
The water splashed all over the top of the car.
Owls screech through the night and keep us awake when we are camping.
My stomach grumbled in hunger as we entered the restaurant.

Oxymoron
An oxymoron is a description using two opposite ideas to create an effective description. The format is often an adjective proceeded by a noun.
Examples:
My father's thoughtless idea landed him in the middle of the lake without a life jacket.
The jumbo shrimp is a favorite of customers.
The loud silence of night keeps him awake.

Hyperbole
A hyperbole is an over-exaggeration used to emphasize an emotion or description. Sometimes hyperbole also implements the use of simile and
comparative words.
Examples:
I am so hungry I would eat dirt right now.
My brother is taller than a skyscraper.
The concert was so loud the drums echoed in space.

Litotes
Litotes are figures of speech that use understatement to make a point. It is often sarcastic in tone. The statement is affirmed by negating the
opposite.
Examples:
I can't say I disagree with what you're saying.
My dog is not the friendliest.
He's not even a little tired after staying up all night watching television.

Alliteration
Alliteration is the repetition of the same consonant sound at the start of one or more words near one another. It is often used to emphasize an
emotion or reveal a stronger description.
Examples:
The pitter-patter of paws echoed down the hallway and woke me from my slumber.
The clamoring clash of dished cracking on the concrete burned my ears.
Old creaking crates carry ages of dust within them and are about to burst open.

Allusion
An allusion is a reference to a well-known person, place, thing or event of historical, cultural or literary merit. It requires the audience to use their
background knowledge to understand the meaning.
Examples:
You stole the forbidden fruit when you took his candy.
He didn't do anything as bad as chopping down a cherry tree.
She was Helen of Troy of the class and made all the boys fight.

Assonance is the repetition of similar internal vowel sounds in a sentence or a line of poetry, as in “I rose and told him of my woe.”

Paradox- It is a statement that appears to be self-contradictory or silly, but which may include a latent truth. It is also used to illustrate an opinion or
statement contrary to accepted traditional ideas. A paradox is often used to make a reader think over an idea in innovative way.

Examples
He is dying with his untrustworthy belief.
Sharply blunt razor cannot do anything to you.
Kindly cruel treatment made him flabbergasted.
Metonymy is the use of a linked term to stand in for an object or concept. You'll find examples of metonymy used frequently in both literature and
everyday speech. You might use it yourself without even realizing it.
Sometimes metonymy is chosen because it's a well-known characteristic of the concept. A famous example is, "The pen is mightier than the sword,"
from Edward Bulwer Lytton's play Richelieu. This sentence has two metonyms:
"Pen" stands for "the written word."
"Sword" stands for "military aggression

Synecdoche
Synecdoche is a literary device in which a part of something represents the whole, or it may use a whole to represent a part. Synecdoche may also
use larger groups to refer to smaller groups, or vice versa.
Examples
He does not know how to behave with the special people.
He is looking at his own grey hair and his agility.
The new generation is addicted to the use of plastic money.

2. Imagery is the concrete representation of a sense impression, feeling, or idea that triggers our imaginative ere-enactment of a sensory
experience.
*Images may be visual (something seen), auditory (something heard), tactile (something felt), olfactory (something smelled), or
gustatory (something tasted). Imagery may also refer to a pattern of related details in a poem.
3. Stanza - Stanzas are a series of lines grouped together and separated by an empty line from other stanzas. They are the equivalent of a
paragraph in an essay. One way to identify a stanza is to count the number of lines. Thus

o couplet (2 lines) o sestet (6 lines) (sometimes it's called a sexain)

o tercet (3 lines) o septet (7 lines)
o quatrain (4 lines) o octave (8 lines)
o cinquain (5 lines)

4. Rhyme - It is the repetition of similar sounds. Rhyme is the repetition of identical or similar concluding syllables in different words, most often at
the ends of lines.
-Rhyme is predominantly a function of sound rather than spelling; thus, words that end with the same vowel sounds rhyme, for instance,
day, prey, bouquet, weigh, and words with the same consonant ending rhyme, for instance vain, rein, lane.
-The rhyme scheme of a poem, describes the pattern of end rhymes. Rhyme schemes are mapped out by noting patterns of rhyme with
small letters: the first rhyme sound is designated a, the second becomes b, the third c, and so on.
o End Rhyme - occurs at the end of two or more lines.
EXAMPLE:
I saw a fairy in the wood,
He was dressed all in green.
He drew his sword while I just stood,
And realized I'd been seen.
o Internal Rhyme - occurs in the middle of a line.
EXAMPLE:
"In mist or cloud, on mast or shroud"
"Whiles all the night through fog-smoke white"
5. Rhythm and Meter - Meter: the systematic regularity in rhythm; this systematic rhythm (or sound pattern) is usually identified by examining
the type of "foot" and the number of feet.
A. Poetic Foot - The feet in a line are distinguished as recurring pattern of 2 to 3 syllables.
Thus,___= a stressed (strong, or loud)
U = unstressed (weak)
a. Iambic (Iamb) = weak syllable followed by strong syllable.
=unstressed (U)+ stressed syllable (__)
EXAMPLE: Shall I compare thee to a summers day
b. Trochee (Trochaic) = strong syllable followed by a weak syllable.
= stressed syllable(__) + unstressed syllable (U)
EXAMPLE: Fairer than the mermaid Tavern
c. Anapest (Anapestic) = two weak syllables followed by a strong syllable.
= (U + U + ___)
EXAMPLE: On this night of all nights of the year
d. Dactyl (Dactylic) = a strong syllable followed by two weak syllables.
= (___ + U + U)
EXAMPLE: How shall I know whether they will come back to me
e. Spondee (Spondaic) = two strong syllables (not common as lines, but appears as a foot). A spondee usually appears at the end of a
line.
= (___ + ___ )
EXAMPLE: And no birds sing
Irregularity: Many metered poems in English avoid perfectly regular rhythm because it is monotonous.

A. Irregularities in rhythm add interest and emphasis to the lines.

EXAMPLE: How with this range shall beauty hold a plea

B. Blank Verse - Poetry that does have a set of metrical pattern but does not have rhyme.
EXAMPLE : Something there is that doesn’t love a wall.
 That sends the frozen-ground-swell under it
And spills the upper boulders in the sun;

C. Free Verse - Most Modern poetry no longer follows strict rules of meter or rhyme, especially throughout an entire poem.

6. Tone conveys the speaker’s implied attitude toward the poem’s subject. Tone is an abstraction we make from the details of a poem’s language:
the use of meter and rhyme (or lack of them); the inclusion of certain kinds of details and exclusion of other kinds; particular choices of words and
sentence pattern, or imagery and figurative language (diction). Another important element of tone is the order of words in sentences, phrases, or
clauses (syntax).

III. Application/Activity
Directions: Construct a 2 stanza tercet poem using the provided words in the box. USE a rhyme scheme ABA.

Night write dream fall Strong stop

______________________________________________________________________________________________________________________
______________________________________________________________________________________________________________________
_____________________________________________________________________________________

IV. Assessment
Instruction: Identify the figurative language used in the following sentences. Write your answer on the space provided before each number.
______1. She is now in the sunset of her days.
______2. Little sorrows sit and weep.
______3. The dish ran away with the spoon.
______4. I have never read Milton.
______5. "In the over-mastering loneliness of that moment, his whole life seemed to him nothing but vanity." - "Night Rider" by Robert Penn Warren
______6. The car complained as the key was turned.
______7. She’s going to die of embarrassment.
______8. Rita heard the last piece of pie calling her name.
______9. Give me the fifty dollars you owe me or pay for dinner, it’s the same difference.
______10. The best part about music class is that you can bang on the drum.
______11. Sorry, I can’t help you out right now, I am involved in my own minor crisis.
______12. I really would like to try that new jumbo shrimp restaurant.
______13. I had to wait in the station for ten days– an eternity.
______14. The rise in poverty will unlock the Pandora's box of crimes.
______15. Her voice is music to his ears.

V. Other References

 Elements of Poetry. Retrieved from http://www.unm.edu/~hookster/Elements%20of%20Poetry.pdf

 Your Dictionary. Retrieved from https://examples.yourdictionary.com/examples-of-figurative-language.html

References:
Philippine Literature A Regional Approach. Cacho Hermanos, Inc. Pines cor. Union Sts. Manadaluyong City.