First Quarter G9 MODULE

ENGLISH 9. 1st Quarter.
Page 1 of 46
GRADE
Republic of the Philippines

DEPARTMENT OF EDUCATION
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JUNIOR HIGHSCHOOL DEPARTMENT
ENGLISH
ST
1 QUARTER
NAME OF STUDENT
GRADE AND BLOCK
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JUNIOR HIGHSCHOOL DEPARTMENT Aspire…Achieve…Advance!
ENGLISH 9. 1st Quarter. Page 2 of 46
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Table of Contents
Introduction …………………………………………………… 4
Learning Objectives & Definition of terms…………… ……. ……. 5
Icons in this Module …………………………………………………6
Pre-Test ……………………………………………………………... 7
Chapter 1 From the Anglo-Saxons to the Classicists
Lesson 1 LITERARY PERIODS IN ANGLO LITERATURE ..……. 8-16
Old English Literature (450-1100)…….………………………………….. 8

Middle English Literature: 1100-1500….………………………………. 8-9
English Renaissance: 1500-1660 …………………………………………9
NEO-CLASSICAL PERIOD: Restoration Age:(1660-1700)…………. 9-10
Periods in American Literature …………………………………………. 10-12
Lesson 2 LITERARY DEVICES…………………. ………...........12-16
Sensory Images……………………………. ……................................. 15-16
Lesson 3 POETRY ……………………………………………… 16-24
Word Order, punctuation marks and interjections in poetry …….. 21-24
Lesson 4 ORGANIZERS ………………………………………... 24-29
Organizers for Writing ……………………………………………….. 24-25

Organizers for Reading ……………………………………………… 25-26
Biographic Organizers………………………………………………… 26-27
Lesson 5 TEXT CONNECTION ………………………………. 30-35
Important Notes …………………………………………………. 35-36

Reference …………………………………………………………36-37
Self-Assessment Activities ……………………………………….37-41
End of Module Assessment ………………………………………42-45
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ANGLO-AMERICAN LITERATURE
1 st Quarter ENGLISH 9
INTRODUCTION
Challenges in life, potentially life-altering for the most of the
times, happen because they give you a chance to discover more about
yourself. Somehow, self-discovery depends on your knowledge of your
own strength s and weaknesses and your ability to face adversities. You
are the only one responsible for who and where you are!
Across cultures, Poetry, either the epic or lyric
poem is an effective medium to express one’s identity. Each culture has
its own epic, a narrative poem that share’s a hero’s adventure. Whether
Lam-ang or Achilles, epic heroes go through a journey as a means of
discovering their identity and determining their purpose in life. On the
other hand, lyric poems reveal the thoughts and ideas of the poet or
persona about his or her surroundings, experiences, and life reflections.
In this module, you will find out how characters
or personas in Anglo-American poetry overcome challenges and improve
their self-understanding. You will also develop into a critical reader of
poems with the ability to determine what constitutes a good poem.
Hopefully, this will give you a chance to mirror with these characters and
help you understand your SELF better.
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LEARNING OBJECTIVES
• Distinguish how Anglo-American literature relates to one’s self.

• Identify the functions of literary devices and sensory imagery.
• Identify features of lyric poetry, songs, poems sermons and allegories.
• Distinguish appropriate use of word order, punctuation marks and
interjections in poetry.
• Define advance organizers, titles, subtitles, illustrations.
• Distinguish advance organizers, titles, subtitles and illustrations.
• Identify connection between texts.
• Distinguish purposes and importance of punctuation marks to convey
meaning.
DEFINITION OF TERMS
.
• Anglo is a Late Latin prefix used to denote English.

• American literature is the literature written or produced in the area of
the United States and its preceding colonies.
• A lyric poem or lyrical poem in literature is a poem in which the poet
either expresses his feelings and emotions.
• A song is a lyrical poem which is sung with the playing of some
musical instrument.
• A graphic organizer is a visual diagram that represents the
information. in the text. Refer students to the Text Structure Cue Sheet
for visual examples.
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Icons of this Module
Introduction These are discussions of the activities as a

way to deepen your discovery and
understanding of the concept
Learning Objective This part contains objectives that are set for
you to learn as you go along the module.
Definition of Terms These are some of the things that you might
find difficult as you go along the way. This
will help you clear up your mind.
Pre-Test This is an assessment as to your level of
knowledge to the subject matter at hand,
meant specifically to gauge prior related
knowledge
Important Notes Additional learning notes for you to easily
remember
Self-Assessment These are follow-up activities that are
Activities intended for you to practice further in order
to master the competencies
Self and Module These are tasks that are designed to show
Assessment case your skills and knowledge gained, and
help yourself and your module improve
End of Module Activities designed to process what you
Assessment have learned from the lesson
Reference These are the resources where all the

information that the module contains came
from
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PRE-TEST
WRITE ALL YOUR ANSWERS ON A SEPARATE SHEET OF PAPER (1
whole) Follow the format below.
NAME:_________________________________SUBJECT: ______________
GRADE&BLOCK:______________________QUARTER: ______________
ACTIVITY 1 Directions: In a separate sheet of paper, make a simple

Bubble Map to illustrate ideas which connects to Anglo-American
Literature.
ACTIVITY 2 Directions: In a separate sheet of paper, make a simple

Bubble Map to illustrate ideas which connects to literary devices.
ACTIVITY 3 Directions: In a separate sheet of paper, make a simple organizer

about an unforgettable event in your life.
ACTIVITY 4 Directions: In a separate sheet of paper, construct 3-5

sentences to why are punctuation marks important.
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LITERARY PERIODS IN ANGLO LITERATURE
Anglo is a prefix indicating a relation to the Angles, England, the English

people, or the English language, such as in the term Anglo-Saxon
language. It is often used alone, somewhat loosely, to refer to people of
British Isles descent in The Americas, New Zealand and Australia.
Anglo is a Late Latin prefix used to denote English. The word is derived
from Anglia, the Latin name for England, and still the modern name of its
eastern region. Anglia and England both mean land of the Angles, a
Germanic people originating in the north German peninsula of Angel.
LITERARY PERIODS IN ANGLO LITERATURE

Old English Literature (450-1100)
• Encompasses literature written in Old English in Anglo-Saxon
England
• GENRE/STYLE :Epic poetry; Hagiography; Sermons; Bible
Translations; Chronicles
Sample Literary Masterpiece:
Beowulf
Beowulf is an Old English epic poem consisting of 3182 alliterative lines.
It is the oldest surviving long poem in Old English and is commonly cited
as one of the most important works of Old English literature. It describes
the adventures of a great Scandinavian warrior of the sixth century.
Middle English Literature: 1100-1500
• In this period religious literature continued to enjoy popularity

and Hagiographies were written, adapted and translated.
• GENRE/STYLE: Romance; Bible Translations
Sample Literary Masterpieces:

The Canterbury Tales of Geoffrey Chaucer
'The Canterbury Tales' by Geoffrey Chaucer was enormously popular in
medieval England, with over 80 copies in existence from the 1500s. Its
popularity may be due to the fact that the tales were written in Middle
English, a language that developed after the Norman invasion, after
which those in power would have spoken French.
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Sir Gawain and the Green Knight

Sir Gawain and the Green Knight is a late 14th-century Middle
English chivalric romance. It is one of the best known Arthurian stories,
with its plot combining two types of folklore motifs, the beheading game
and the exchange of winnings.
English Renaissance: 1500-1660

a. Elizabethan and Jacobean period (1558-1625)
b. Late Renaissance:1625-60
• The English Renaissance was a cultural and artistic movement in
England dating from the late 15th and early 16th centuries to the
17th century.
• The Renaissance saw the rise of English theatrical drama, most
notably William Shakespeare but also from authors such as
Christopher Marlowe.
• GENRE/STYLE:Vernacular Literature; Comedy; Tragedy
Sample Literary Masterpiece: Book of Common

Prayer; Works of William Shakespeare
The Faerie Queene by Edmund Spenser
NEO-CLASSICAL PERIOD: Restoration Age:(1660-1700)
• Augustan literature (1700-1750) and Age of sensibility: (1750-

1798)
• The 18th century literature reflected the worldview of the Age of
Enlightenment (or Age of Reason): a rational and scientific
approach to religious, social, political, and economic issues that
promoted a secular view of the world and a general sense of
progress and perfectibility.
• GENRE/STYLE: Pastoral and Mock-heroic
Sample Literary Masterpiece:

Gulliver’s Travel of Jonathan Swift
Travels into Several Remote Nations of the World. In Four Parts. By
Lemuel Gulliver, First a Surgeon, and then a Captain of Several Ships,
commonly known as Gulliver's Travels, is a prose satire by Irish writer
and clergyman Jonathan Swift, that is both a satire on human nature and
the "travellers' tales" literary subgenre. It is Swift's best known full-
length work, and a classic of English literature.
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Modern Period
• English literary modernism developed out of a general sense of

disillusionment with Victorian era attitudes of certainty,
conservatism, and belief in the idea of objective truth.
• GENRE/STYLE: Modernist novels using
the stream of consciousness technique; Science Fiction
Sample Literary Masterpieces:

The Sound and the Fury by William Faulkner
Lady Chatterley’s Lover by D.H Lawrence
American Literature
American literature is the literature written or produced in the area of the
United States and its preceding colonies. During its early history,
America was a series of British colonies on the eastern coast of the
present-day United States. Therefore, its literary tradition begins as
linked to the broader tradition of English literature. However, unique
American characteristics and the breadth of its production usually now
cause it to be considered a separate path and tradition.
PERIODS IN AMERICAN LITERATURE
PURITAN/COLONIAL 1650-1750
• Instructive and reinforces authority of the Bible and church.

• GENRE/STYLE: Sermons, diaries, personal narratives; Written
in plain style
REVOLUTIONARY/ AGE OF REASON 1750-1800
• Patriotism grows; Instills pride; Creates common agreement

about issues; National mission and the American character.
• GENRE/STYLE: Political pamphlets; Travel writing; Highly
ornate style and Persuasive writing
ROMANTICISM 1800-1860
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• Value feeling and intuition over reasoning; Journey away from

corruption of civilization and limits of rational thought toward
the integrity of nature and freedom of the imagination
• Helped instill proper gender behavior for men and women
• GENRE/STYLE: Character sketches; Slave narratives; Poetry;
Short stories
Washington Irving's "Rip Van Winkle and Poems of Walt
Whitman
AMERICAN RENAISSANCE/ TRANSCENDENTALISM 1840-1860

(Note overlap in time period with Romanticism -- some consider the
anti-transcendentalists to be the "dark" romantics or gothic)
• Transcendentalists: True reality is spiritual; Idealists; Self-

reliance & individualism
• Anti-Transcendentalists: Used symbolism to great effect; Sin,
pain, & evil exist
• GENRE/STYLE: Poetry; Short Stories; Novels
PERIODS IN AMERICAN LITERATURE REALISM 1855-1900

(Period of Civil War and Postwar period)
• Social realism: aims to change a specific social problem

• Aesthetic realism: art that insists on detailing the world as one
sees it
• GENRE/STYLE: Novels and short stories and Objective narrator
PERIODS IN AMERICAN LITERATURETHE MODERNS 1900-1950
• In Pursuit of the American Dream; Admiration for America as

land of Eden; Optimism and Importance of the Individual
• GENRE/STYLE: Novels ; Plays; Poetry (a great resurgence after
deaths of Whitman & Dickinson); Use of interior monologue &
stream of consciousness
HARLEM RENAISSANCE (Parallel to modernism) 1920s
• Allusions to African-American spirituals ; Uses structure of

blues songs in poetry (repetition)
• Superficial stereotypes revealed to be complex characters
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• GENRE/STYLE: Gave birth to "gospel music"

• Blues and jazz transmitted across American via radio and
phonographs.
PERIODS IN AMERICAN LITERATURE POSTMODERNISM (1950

to present)
• Erodes distinctions between classes of people; Insists that values

are not permanent but only "local" or "historical"; Mixing of
fantasy with nonfiction; blurs lines of reality for reader; Usually
humorless
• GENRE/STYLE: Narratives; Metafiction and Magic realism
Literary Devices: Definition & Examples
When an author sits to write a story, she doesn't simply write what
happened. Instead, she uses what are called literary devices which are
narrative techniques that add texture, energy, and excitement to the
narrative, grip the reader's imagination, and convey information.
While there are literally hundreds of literary devices at an author's

disposal, what follows are a handful of the most common.
Allegory
An allegory is a type of narrative that uses characters and plot to depict
abstract ideas and themes. In an allegorical story, things represent more
than they appear to on the surface. Many children's fables, such as The
Tortoise and the Hare, are simple allegories about morality — but
allegories can also be dark, complex, and controversial.
Example: Animal Farm by George Orwell. This dystopian
novella is one of modern literature’s best-known allegories. A
commentary on the events leading up to Stalin's rise and the formation of
the Soviet Union, the pigs at the heart of the novel represent figures such
as Stalin, Trotsky, and Molotov.
Alliteration
Alliteration describes a series of words in quick succession that all start
with the same letter or sound. It lends a pleasing cadence to prose and
poetry both. And if you have any doubts about the impact of alliteration,
consider the following unforgettable titles: Love’s Labour’s Lost, Sense
and Sensibility, and The Haunting of Hill House.
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Example: “Peter Piper picked a pot of pickled peppers.”
Allusion
An allusion is a passing or indirect descriptive reference to something.
You probably allude to things all the time in everyday speech, without
even noticing.
Example: “This list of literary devices will turn me into a bona
fide Mark Twain.”
Anachronism
Anachronism is when something happens or is attributed to a different
era than when it actually existed. This is usually a mistake, such as an
author writing a period piece and accidentally using language that’s too
modern. However, it can also be intentionally used as a literary device, if
the author wants to comment on a theme like time or society.
Example: Cassius in Julius Caesar says that “the clock has
stricken three," even though mechanical clocks had not been invented in
44 A.D. Of course, it’s debatable whether Shakespeare did this on
purpose to signify something else. Indeed, there are many famous
anachronisms in Shakespeare, such as the University of Halle-
Wittenberg in Hamlet and the dollar as currency in Macbeth.
Anaphora
Anaphora is the repetition of a word or phrase at the beginning of a series
of clauses or sentences. It’s often seen in poetry and speeches, intended
to provoke a emotional response in its audience.
Example: Martin Luther King’s 1963 “I Have A Dream” speech.
“I have a dream that one day this nation will rise up and live out the true
meaning of its creed … and 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 together at the table of brotherhood … I have a dream
that 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.”
Similar term: repetition
Anastrophe
Anastrophe is a figure of speech wherein the traditional sentence
structure is reversed. So a typical verb-subject-adjective sentence such as
“Are you ready?” becomes a Yoda-esque adjective-verb-subject
question: “Ready, are you?” Or a standard adjective-noun pairing like
“tall mountain” becomes “mountain tall.”
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Example: “Deep into that darkness peering, long I stood there wondering,
fearing.” — The Raven by Edgar Allan Poe
Anthropomorphism
To anthropomorphize is to apply human traits or qualities to a non-human thing
such as objects, animals, or the weather. But unlike personification, in which
this is done through figurative description, anthropomorphism is literal: a sun
with a smiling face, for example, or talking dogs in a cartoon.
Examples: In Disney’s Beauty and the Beast, Mrs. Potts the teapot,
Cogsworth the clock, and Lumière the candlestick are all household objects that
act and behave like humans (which, of course, they were when they weren’t
under a spell).
Similar term: personification
Hyperbole
Hyperbole is an exaggerated statement that emphasizes the significance of the
statement’s actual meaning. When a friend says, "Oh my god, I haven't seen you
in a million years," that's hyperbole.
Example: “At that time Bogotá was a remote, lugubrious city where an
insomniac rain had been falling since the beginning of the 16th century.” —
Living to Tell the Tale by Gabriel García Márquez
Imagery
Imagery appeals to readers’ senses through highly descriptive language. It’s
crucial for any writer hoping to follow the rule of "show, don’t tell," as strong
imagery truly paints a picture of the scene at hand.
Example: “In the hard-packed dirt of the midway, after the glaring
lights are out and the people have gone to bed, you will find a veritable treasure
of popcorn fragments, frozen custard dribblings, candied apples abandoned by
tired children, sugar fluff crystals, salted almonds, popsicles, partially gnawed
ice cream cones and wooden sticks of lollipops.” — Charlotte's Web by E.B.
White
Irony
Irony creates contrast between how things seem and how they really are. There
are three types of literary irony: dramatic (when readers know what will happen
before characters do), situational (when readers expect a certain outcome, only
to be surprised by a turn of events), and verbal (when the intended meaning of a
statement is the opposite of what was said).
Example: This opening scene from Orson Welles’ A Touch of Evil is a
great example of how dramatic irony can create tension.
Metaphor
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A metaphor compares two similar things by saying that one of them is the other.
As you'd likely expect, when it comes to literary devices, this one is a heavy
hitter. And if a standard metaphor doesn't do the trick, a writer can always try an
extended metaphor: a metaphor that expands on the initial comparison through
more elaborate parallels.
Example: Metaphors are literature’s bread and butter (metaphor
intended) — good luck finding a novel that is free of them. Here’s one from
Frances Hardinge’s A Face Like Glass: “Wishes are thorns, he told himself
sharply. They do us no good, just stick into our skin and hurt us.”
Paradox
Paradox derives from the Greek word paradoxon, which means “beyond belief.”
It’s a statement that asks people to think outside the box by providing seemingly
illogical — and yet actually true — premises.
Example: In George Orwell’s 1984, the slogan of the totalitarian
government is built on paradoxes: “War is Peace, Freedom is Slavery, Ignorance
is Strength.” While we might read these statements as obviously contradictory,
in the context of Orwell’s novel, these blatantly corrupt sentiments have become
an accepted truth.
Personification
Personification uses human traits to describe non-human things. Again, while
the aforementioned anthropomorphism actually applies these traits to non-
human things, personification means the behavior of the thing does not actually
change. It's personhood in figurative language only.
Example: “Just before it was dark, as they passed a great island of
Sargasso weed that heaved and swung in the light sea as though the ocean were
making love with something under a yellow blanket, his small line was taken by
a dolphin.” — The Old Man and the Sea by Ernest Hemingway
Sensory Imagery
Sensory imagery is a literary device writer employ to engage a reader’s mind on
multiple levels. Sensory imagery explores the five human senses: sight, sound,
taste, touch, and smell. Sensory imagery involves the use of descriptive
language to create mental images. In literary terms, sensory imagery is a type of
imagery; the difference is that sensory imagery works by engaging a reader’s
five senses. Any description of sensory experience in writing can be considered
sensory imagery.
What Is the Purpose of Sensory Imagery in Writing?

Most writing contains some level of imagery. One reason fiction writers deal in
significant concrete detail is to permit the reader the pleasure of arriving at their
own judgments and conclusions through perceptual clues. However, writers
don’t have to always resort to describing the way things look to create mental
images.
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Describing how something tastes, smells, sounds, or feels—not just how it

looks—makes a passage or scene come alive. Using a combination of imagery
and sensory imagery arms the reader with as much information as possible and
helps them create a more vivid mental picture of what is happening.
6 Different Types of Sensory Imagery

A passage of writing can contain imagery that appeals to multiple senses. It is
useful to break down sensory imagery by sense.
1. Visual imagery engages the sense of sight. This is what you can see,
and includes visual descriptions. Physical attributes including color,
size, shape, lightness and darkness, shadows, and shade are all part of
visual imagery.
2. Gustatory imagery engages the sense of taste. This is what you can
taste, and includes flavors. This can include the five basic tastes—
sweet, salty, bitter, sour, and umami—as well as the textures and
sensations tied to the act of eating.
3. Tactile imagery engages the sense of touch. This is what you can feel,
and includes textures and the many sensations a human being
experiences when touching something. Differences in temperature is
also a part of tactile imagery.
4. Auditory imagery engages the sense of hearing. This is the way things
sound. Literary devices such as onomatopoeia and alliteration can help
create sounds in writing.
5. Olfactory imagery engages the sense of smell. Scent is one of the most
direct triggers of memory and emotion, but can be difficult to write
about. Since taste and smell are so closely linked, you’ll sometimes
find the same words (such as “sweet”) used to describe both. Simile is
common in olfactory imagery, because it allows writers to compare a
particular scent to common smells like dirt, grass, manure, or roses.
6. Kinesthetic imagery (a.k.a kinesthesia) engages the feeling of
movement. This can be similar to tactile imagery but deals more with
full-body sensations, such as those experienced during exercise.
Rushing water, flapping wings, and pounding hearts are all examples of
kinesthetic imagery.
POETRY
LYRIC POETRY
A lyric poem or lyrical poem in literature is a poem in which the poet either
expresses his feelings and emotions. The poet also presents a character in the
first person to express his emotions. It is a combination of lyric and poetry
where a piece of poetry is written as a lyric. Lyric has been derived from lyre; a
musical stringed instrument used during the Grecian period to accompany the
poetry sung during different festivities.
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A lyric poem provides the poet with space to express his personal feelings he
cannot show otherwise in prose or any other form. He is free to address anything
and write in a way that it could be sung. It also provides the poet an opportunity
to show how he can turn words into emotional outbursts that could be turned
into music. The poet can freely compose, repeat and use rhyming patterns for
music.
Example:
“Hymn of Pan” by Shelley
“FROM the forests and highlands

⁠We come, we come;
From the river-girt islands,
⁠Where loud waves are dumb
⁠Listening to my sweet pipings.
The wind in the reeds and the rushes,
⁠The bees on the bells of thyme,
The birds on the myrtle bushes,

⁠The cicale above in the lime,
And the lizards below in the grass,
Were as silent as ever old Tmolus was,
⁠Listening to my sweet pipings.”
Types:
• Italian or Petrarchan is a sonnet divided with an emotion into an octave
stanza of 8 line and a sextet-stanza or a poem of 6 lines.
• Shakespearean or Spenserian (also called English) is a sonnet divided
into three quatrains and a couplet
• Elegy this is a lyric poem which expresses feelings of grief and
melancholy, and whose theme is death
• Ode this is a poem of a noble feeling, expresses with dignity with no
definite number of syllables or definite number of lines in stanza.
• Psalms is a song praising God or the Virgin Mary and containing a
philosophy Life.
• Awit(song) These have measures of syllables (dodecasyllabic) and
slowly’s sung to the accompaniment of a guitar or banduria.
• Corridos These have measures of eight syllables (octosyllabic) and
recited to a martial beat.
SONGS
A song is a lyrical poem which is sung with the playing of some musical
instrument. It is a very old form of literature which is passed from one
generation to the other generation.
In the beginning when people could not read and write songs were passed from
one to another orally. These were popular among people, and these are called
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folk songs. When people could read and write they began to compose songs in
written forms so they are found printed in the book form. The songs are divided
into many groups as folk songs, sentimental songs, classical songs, evergreen
songs etc.
Features:
1. Songs usually build energy as they proceed. Whether by using
instrumentation, melodic range, dynamics (i.e., loudness), tempo, and
rhythmic intensity, the end of your song should usually come across as
more energetic than the beginning.
2. A song’s chord progressions should proceed from fragile to strong.
A fragile progression is one that is perhaps tonally ambiguous or
meandering, while a strong progression is one that clearly points to a
tonic note and chord. Verse and bridge progressions can be fragile, but
chorus progressions should be short and strong.
3. A song should show a steady harmonic rhythm. The term harmonic
rhythm refers to how long you play a chord before moving on to the
next one. Most songs will keep that pattern fairly steady, changing
chords every 4 or 8 beats.
4. A song should show a strong relationship between melodic shape,
lyrics and chords. When a melody rises to a high point, it’s usually for
a good reason: you want to highlight something significant in the lyric.
Good songs show a clear and important relationship between all
components, to get the message across.
5. A song’s chorus will feature the tonic note and chord more often
than the verse. The tonic note is the one that represents the key your
song is in. It acts as a strong sense of “home”, and so chorus melodies
are usually written to place special significance on that note and its
accompanying chord. Verses can wander a bit more, avoiding the tonic
note. But choruses need to feature that note as an important goal.
6. Chorus melodies usually sit higher in pitch than verse
melodies. That’s because the human voice generates more energy in its
upper range, and we obviously want more energy to occur in a chorus
than in a verse.
POEMS
A verbal composition designed to convey experiences, ideas, or emotions in a
vivid and imaginative way, characterized by the use of language chosen for its
sound and suggestive power and by the use of literary techniques such as meter,
metaphor, and rhyme. An arrangement of words written or spoken:
traditionally a rhythmical composition, sometimes rhymed, expressing
experiences, ideas, or emotions in a style more concentrated, imaginative, and
powerful than that of ordinary speech or prose: some poems are in meter, some
in free verse and a poem is a collection of words that express an emotion or idea,
sometimes with a specific rhythm.
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Types of Poetic Forms:

1. Blank verse. Blank verse is poetry written with a precise meter—
almost always iambic pentameter—that does not rhyme. Learn more
about blank verse here.
2. Rhymed poetry. In contrast to blank verse, rhymed poems rhyme by
definition, although their scheme varies. Learn more about rhymed
poetry here.
3. Free verse. Free verse poetry is poetry that lacks a consistent rhyme
scheme, metrical pattern, or musical form. Learn more about free verse
here.
4. Epics. An epic poem is a lengthy, narrative work of poetry. These long
poems typically detail extraordinary feats and adventures of characters
from a distant past. Learn more about epics here.
5. Narrative poetry. Similar to an epic, a narrative poem tells a story.
Henry Wadsworth Longfellow’s “The Midnight Ride of Paul Revere”
and Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner”
exemplify this form. Learn more about narrative poetry here.
6. Haiku. A haiku is a three-line poetic form originating in Japan. The
first line has five syllables, the second line has seven syllables, and the
third line again has five syllables. Learn more about haikus here.
7. Pastoral poetry. A pastoral poem is one that concerns the natural
world, rural life, and landscapes. These poems have persevered from
Ancient Greece (in the poetry of Hesiod) to Ancient Rome (Virgil) to
the present day (Gary Snyder). Learn more about pastoral poetry here.
8. Sonnet. A sonnet is a 14 line poem, typically (but not exclusively)
concerning the topic of love. Sonnets contain internal rhymes within
their 14 lines; the exact rhyme scheme depends on the style of a sonnet.
Learn about Petrarchan sonnets here. Learn about Shakespearean
sonnets here.
9. Elegies. An elegy is a poem that reflects upon death or loss.
Traditionally, it contains themes of mourning, loss, and reflection.
However, it can also explore themes of redemption and consolation.
Learn more about elegies here.
10. Ode. Much like an elegy, an ode is a tribute to its subject, although the
subject need not be dead—or even sentient, as in John Keats’ “Ode on
a Grecian Urn”. Learn more about odes here.
11. Limerick. A limerick is a five-line poem that consists of a single
stanza, an AABBA rhyme scheme, and whose subject is a short, pithy
tale or description. Learn more about limericks here.
12. Lyric poetry. Lyric poetry refers to the broad category of poetry that
concerns feelings and emotion. This distinguishes it from two other
poetic categories: epic and dramatic. Learn more about lyric poetry
here.
13. Ballad. A ballad (or ballade) is a form of narrative verse that can be
either poetic or musical. It typically follows a pattern of rhymed
quatrains. From John Keats to Samuel Taylor Coleridge to Bob Dylan,
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it represents a melodious form of storytelling. Learn more about ballads

here.
14. Soliloquy. A soliloquy is a monologue in which a character speaks to
him or herself, expressing inner thoughts that an audience might not
otherwise know. Soliloquies are not definitionally poems, although
they often can be—most famously in the plays of William Shakespeare.
Learn more about soliloquies here.
15. Villanelle. A nineteen-line poem consisting of five tercets and a
quatrain, with a highly specified internal rhyme scheme. Originally a
variation on a pastoral, the villanelle has evolved to describe obsessions
and other intense subject matters, as exemplified by Dylan Thomas,
author of villanelles like “Do Not Go Gentle Into That Good Night.”
SERMONS
A discourse for the purpose of religious instruction or exhortation, especially one

based on a text of Scripture and delivered by a member of the clergy as part of a
religious service. any serious speech, discourse, or exhortation, especially on a
moral issue. Sermons address a scriptural, theological, or moral topic, usually
expounding on a type of belief, law, or behavior within both past and present
contexts. Elements of the sermon often include exposition, exhortation, and
practical application. The act of delivering a sermon is called preaching.
ALLEGORY
As a literary device, an allegory is a narrative in which a character, place, or event
is used to deliver a broader message about real-world issues and occurrences.
Authors have used allegory throughout history in all forms of art to illustrate or
convey complex ideas and concepts in ways that are comprehensible or striking
to its viewers, readers, or listeners.
Writers and speakers typically use allegories to convey (semi-)hidden or complex
meanings through symbolic figures, actions, imagery, or events, which together
create the moral, spiritual, or political meaning the author wishes to convey.[2]
Many allegories use personification of abstract concepts.
An allegory is a work that conveys a hidden meaning—usually moral, spiritual,
or political—through the use of symbolic characters and events. The story of "The
Tortoise and The Hare" is a well-known allegory with a moral that a slow and
steady approach (symbolized by the Tortoise) is better than a hasty and
overconfident approach (symbolized by the Hare).
Types:
• Historical allegories: Writing in this category allegorizes historical
figures and events. Writers of this kind of allegory may be using symbols
to mask the true subject of their writing (for instance, to avoid censorship
or punishment), or to effectively distill a complex history into a more
simplified and vivid story that will engage readers on an emotional and
aesthetic level.
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o A good example of this type of allegory is George

Orwell's Animal Farm, which corresponds pretty closely to the
events of the Russian revolution.
• Conceptual allegories: This kind of allegory uses characters and events
to symbolize abstract things rather than actual events or people. For
example, it's common for writers of conceptual allegories to use
characters that embody particular moral qualities, such as purity or love.
Most religious and social allegories fall under this category, since they
usually don't have to do with a specific person or historical event, but
rather some virtue or vice more generally.
o In "The Pardoner's Tale," a story in Chaucer's The Canterbury
Tales, a character known as the Pardoner asserts that greed is
the root of all evil, and illustrates the point using an allegory in
which three drunken men set out to find a character known as
"Death," but find a small fortune in gold instead. They end up
killing each other in an attempt to secure the entire treasure. The
three men can be said to embody greed.
IMPORTANCE OF WORD ORDER, PUNCTUATION MARKS AND

INTERJECTIONS IN POETRY.
Word Choice and Word Order
"Word choice" refers to the words a poet chooses to use. Word choice is extremely
important in poetry, since the poem is such a compact form. Every word counts.
"Word order" simply refers to the order in which words are arranged in the poem.
Does the poet use a conventional sentence structure, or does he invert the order of
words so that the subject comes after the verb, for example? Why would he do
that? How would the poem's meaning or impact be different if the words were
phrased differently?
Word order refers to the way words are arranged in a sentence. The standard
word order in English is: Subject + Verb + Object. To determine the proper
sequence of words, you need to understand what the subject, verb and object(s)
are.
Subject: typically a noun or pronoun—the person, place or thing

Verb: the action or state of being
Object: the word or group of words influenced by the verb
The sequence of words is critical when communicating in English because it can

impact the meaning of what you’re trying to say. The sentence, “The chicken
crossed the road” and “The road crossed the chicken” take on two different
meanings because the subject and object are inverted. The same would be true if
the verb was used out of order, for example: “Crossed the road the chicken.”
Here’s one for you to try. Choose the correct word order for the group of words
below:
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A. Dropped the boy the ball.

B. The boy dropped the ball.
C. The ball dropped the boy.
If you chose option B, you would be correct.
NOTE: Among natural languages with a word order preference, SOV is the most
common type (followed by subject–verb–object; the two types account for more
than 75% of natural languages with a preferred order).
Is punctuation in English important?
Punctuation is essential, and is used to convey and clarify the meaning of written
language. It is such simple marks as the full stop or the comma, and the more
complex ones of semicolons and hyphens. Getting punctuation wrong can change
the entire meaning of a sentence. So, if you want to make sure your written
English is understood, read on.
Commas,
Perhaps more than any other punctuation mark, the omission or improper use of
commas can have confusing, hilarious, or even life-threatening consequences for
your writing in English.
Look at this sentence, with and without its comma:
Let’s eat Bob.
Let’s eat, Bob.
If you don’t see why the comma is so important here, glance at your friend Bob
as you read the first sentence. He should look extremely worried. He may even
nervously start joking that a prime rib might be much tastier than a middle- aged
English man.
How about when we find an unnecessary comma in a phrase or sentence? A street
sign that says ‘No, U turn’ holds a very different meaning to the more regularly
seen one reading, ‘No U turn.’ In fact, the two sentences have opposite
meanings.
Quotation marks “”
Aside from their use in speech and quotations from books, quotation marks are
often used by writers to put distance between them and the words. It’s the same
as when we use air quotes to say we disapprove or disagree with something.
So, if I put that this blog was written by a “professional” writer, that’s quite an
insult to me. Unfortunately, these quotation marks are overused in English and
you will see them in lots of places they shouldn’t be. Would you buy a sandwich
that was made “fresh”? Or perhaps you would like to have a deep and meaningful
conversation with a “real” person? No, me neither.
Hyphens –
Like quotation marks above, hyphens are often misused in English, even by
native speakers. Their importance is also underestimated, but they too can
change the whole meaning of a sentence.
Would you be able to tell the difference if your boss offered you these alternatives:
‘twenty-four-hour shifts’ or ‘twenty four-hour shifts’? In the former, your hours
would be long. In the latter, you’d be doing a lot of short shifts. It’s certainly worth
checking the difference.
Look at these two signs and decide which would make you be more cautious:
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Caution! Man eating crocodiles.

Caution! Man-eating crocodiles.
If you’re human, which I presume you are, then you should be more scared of the
second one. (If you’re a crocodile, then it’s the first.)
Interjections in poetry
An interjection is a short expression that writers use to express emotion.
Interjections can stand alone, or they can appear at the beginning or end of
a sentence. Interjections can convey emotions without necessarily connecting to
the main idea, and neither a subject nor verb needs to be present in order to define
an interjection.
Depending on the emotions being conveyed by a sentence, interjections can be

expressed in a variety of ways. Some of those ways include:
• Exclamation point (for expressing strong emotion)
Hey! Stop playing tricks on me!
Ouch! That hurts!
• Comma or ellipses (for expressing weaker emotion)
Well, it’s time to move forward.
Man…it does not look good.
• Question mark (for expressing disbelief or uncertainty)
How can you say that?
• What? You haven’t completed your task yet?
Types of Interjection
• Adjective
Example: Great! Now you can move on to the next chapter.
• Noun or Noun Phrase
Example: Congratulations! You passed your exam.
• Short Clause
Example: Brandy is his science teacher. Oh, the horror!
• Sounds
Example: Uh-oh! Dude, you are in major trouble now.
Examples of Interjections in Literature
Example #1: La Belle Dame Sans Merci (by John Keats)
“And there she lullèd me asleep,
And there I dream’d – ah! woe betide!
The latest dream I ever dream’d
On the cold hill’s side.”
Example #2: Othello (by William Shakespeare)
“Iago: Awake! what, ho, Brabantio! thieves! thieves! thieves!
Look to your house, your daughter and your bags!
Thieves! thieves!”
NOTE: One of the more intriguing characteristics of interjections is their
multifunctionality: the same word may express praise or scorn, excitement or
boredom, joy or despair. Unlike the comparatively straightforward denotations
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of other parts of speech, the meanings of interjections are largely determined

by intonation, context, and what linguists call pragmatic function. "Geez," we
might say, "you really had to be there."
ORGANIZERS
ORGANIZER
A graphic organizer is a visual diagram that represents the information. in the text.
Refer students to the Text Structure Cue Sheet for visual examples. A. graphic
organizer can be used before, during, or after reading to present the information
from the text in a visual or graphic representation.
A graphic organizer is a teaching and learning tool that is used to organize
information and ideas in a way that is easy to comprehend and internalize. By
integrating text and visuals, graphic organizers show relationships and
connections between concepts, terms, and facts.
Graphic organizers can be used in all grade levels, and have proven to be effective
learning tools for gifted children and students with special needs. And with adult
learners, graphic organizers can help enable the connection between what they
already know and newly acquired knowledge.
Benefits of graphic organizers
Different types of graphic organizers can be used across the curriculum for
teaching, learning, and note-taking. They are easy to create and impactful in
simplifying information.
• Help visualize or present information in a way that is easier to
comprehend, by breaking down larger or complex concepts or ideas into
smaller and simpler parts.
• Provide students the opportunity to actively contribute and participate in
the learning process through the creation of graphic organizers.
• Help develop cognitive skills such as brainstorming, critical and creative
thinking, categorizing and prioritizing content, reflection, etc.
• Help recall prior knowledge about a subject and quickly connect it to
new information
• Promotes self-learning. By using graphic organizers for note-taking,
analyzing, studying, etc. students can familiarize themselves with a
lesson far more easily.
Examples:
Graphic Organizers for Writing
Persuasion map
The persuasion map is an interactive graphic organizer that helps students
familiarize themselves with the process of persuasive writing. It assists them with
outlining and preparing arguments for their essays, speeches, debates, etc.
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How to use it
Step 1: Choose a topic of interest for your essay/debate. Do proper research
around it to collect enough information.
Step 2: Define the claim that you want to make with your essay. Start your
persuasion map by writing this down first.
Step 3: Next to it, write down the reasons for making that claim.
Step 4: Then write down facts, examples, and information to back up your
reasoning.
Step 5: End your persuasion map with the conclusion of your essay.
Graphic Organizers for Reading

Story map
A story map can be used to identify the different elements such as characters,
character plots, themes, techniques, etc. in a book student are reading. It’s a useful
tool that teachers can integrate into the lesson to improve students’
comprehension.
How to use it
Step 1: Read the book and understand it well.
Step 2: Discuss the different significant elements that were involved in the story.
These could be the characters, setting, problem and solution, etc. You can fill the
story map during the discussion.
Step 3: Once the map is complete you can discuss each element individually.
Biography graphic organizer
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This is a tool that assists with understanding a character from a novel,

autobiography or movie or a historical figure more in-depth. It brings attention to
various important factors about a person’s life.
How to create it
Step 1: Gather as much information you can about the character you are studying.
You can also refer to online resources, or ask from teachers or experts.
Step 2: As you analyze the information you have gathered, isolate the facts that
stand out or you think are important.
Step 3: Use your biography graphic organizer to lay out the information in a
presentable way. You can add images to make it more comprehensible as well.
KWL chart
KWL chart is used for gathering information from student’s prior knowledge or
experience. This 3-column chart captures the before (what the reader already
knows), during (what the reader wants to learn) and after (what the reader learned)
stages of reading.
How to use it
Step 1: Get students to brainstorm around the selected topic and write down
everything they know about it in the K column.
Step 2: Ask them to generate a list of questions about what they want to know in
the W column of the chart.
Step 3: During or after reading the book/ lesson get them to answer these questions
in the L column.
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Effective graphic organizer (WHY):

While some approaches like doodling and the mind's eye strategy apply this
theory by having learners create physical and mental pictures of concepts,
a graphic organizer keeps the words, but arranges them on a page visually so we
better understand how concepts are related.
TITLES
How to Do a Creative Title
A bland title could turn a reader away from your story, essay or book. A creative
title, on the other hand, grabs a reader's attention while hinting at what's to come.
The direction your title will take -- that is, how creative you can be with it --
depends on the creative freedom the format of your text requires. A formal essay
requires a particular kind of title, while a poem or short story can handle more
imaginative titles.
Jot down the main themes in your story or essay. The themes are the main subjects
your paper deals with, such as love, relationships or politics. Themes can also be
the message of your paper, such as the negative effects of war or dealing with the
loss of a loved one. Summarize or describe the themes in a few short phrases or
even single words.
Coming Up with the Perfect Title

So, let’s talk about the three elements that every book title should have. The title
you choose should:
BE UNIQUE
It’s getting increasingly more difficult to come up with a title that hasn’t been
done before, but you must. This is the best way to stand out from the crowd.
It’s true that you can’t copyright titles. You could name your book The Grapes of
Wrath if you’d like, but should you? I think you know the answer to that.
Make every attempt to avoid popular titles and choose a title that’s personal and
unique to your story.
BE MEMORABLE
Picture this: Your reader loves your book and tells his friend, I just read this
amazing book. His friend asks for the title, but your dear reader cannot remember
the title of your book. He promises to text the friend the title when he gets home,
but he forgets. And just like that, the opportunity to gain a new reader is lost.
PROVIDE INSIGHT
Give a glimpse of what the reader can expect from your novel. An insightful title
is almost like a philosophical question. You can chew on it for weeks, or even
years after reading.
Take for example Rohinton Mistry’s A Fine Balance. The title is not particularly
poetic or substantial aside from reading the story. However, as the reader sits with
the characters, the title becomes more important and necessary (for the reader’s
sanity).
Speaking from personal experience, I came away with a new appreciation for the
title. It took a while. I was stung because the story was so exquisitely sad, but after
reflection, I understood why and what the author was suggesting with the title of
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his story. It made the story more bearable and provided a much-needed lens for
the reader to see the story more clearly.
SUBTITLES
Consider the subtitle as another title; the same rules for capitalization and
punctuation apply as for titles.
Use
• Subtitles are considered part of the title information and are always used,
regardless of length. Do not abbreviate or omit words. Terms such as
stories, poems, or a biography are retained as subtitles.
• The one exception to the use of subtitles is A Novel. This subtitle is
omitted because it is understood for fiction and adds no new information.
It is, however, used when there are added words as in A Novel of
Suspense. It is also used if needed for clarification.
Glory Enough for All: The Battle of the Crater; a Novel of the Civil
War (Note that the article following the semicolon is lowercase; see the next
section)
Walter Winchell: A Novel (retained because the book could easily be mistaken
for a biography without the subtitle)
Punctuation between title and subtitle
A colon is used to separate title and subtitle in most cases. Place the colon directly
after the title; leave one space before the subtitle.
Because the colon indicates the beginning of a subtitle, colons should not be used
elsewhere in the title or subtitle. If a colon appears elsewhere on the title page,
change the punctuation to a comma or semicolon as appropriate. Do not uppercase
articles or prepositions that follow; capitals for initial words are used only to
indicate a title or subtitle.
Food of the Gods: The Search for the Original Tree of Knowledge; a Radical
History of Plants, Drugs, and Human Evolution (Note that the indefinite
article, a, after the semicolon is lowercase.)
• A question mark or exclamation point is sufficient for separation. Do not
also use a colon.
Ar'n't I a Woman? Female Slaves in the Plantation South
Crisis Time! Love, Marriage, and the Male at Mid-Life
• A quotation mark is not sufficient for separation, because it would not
end a sentence in text. Use a colon after the quotation mark to indicate
the beginning of a subtitle. Do not use the colon if the quotation ends in
an exclamation point or question mark.
"The Rest of Us": The Rise of America's Eastern European Jews
"Surely You're Joking, Mr. Feynman!" Adventures of a Curious Character
• Second title after or. Use a semicolon after the title, lowercase or,
follow or with a comma. Do not use a semicolon after a question mark
or exclamation point.
One Fell Soup; or, I'm Just a Bug on the Windshield of Life
What's to Become of the Boy? or, Something to Do with Books
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Titles within subtitles

NLS practice is essentially the same as for titles within titles: treat the subtitle as
a second title and italicize or underscore all titles regardless of whether they would
take italics or quotes in text. For subtitles, all short story or novella titles are
italicized, because they cannot also be the title of the book.
Stories of the Early West: The Luck of Roaring Camp and Sixteen Other
Exciting Tales of Mining and Frontier Days
Eda LeShan on Living Your Life: Based on the CBS Radio Network
Series Getting Along
The Same River Twice: Honoring the Difficult; a Meditation on Life, Spirit,
Art, and the Making of the Film The Color Purple Ten Years Later
Victorian Villainies: The Great Tontine, The Rome Express, In the Fog, The
Beetle
Three Tales of My Father's Dragon: My Father's Dragon; Elmer and the
Dragon; The Dragons of Blueland (For the last two examples, the listed stories
explain the title. The need for italics would be obvious if the and that is
understood between the last two titles were actually present.)
Subtitle vs Title - What's the difference?
Subtitle is a derived term of title.
As nouns the difference between subtitle and title
is that subtitle is a heading below or after a title while title is a prefix (honorific)
or suffix (post-nominal) added to a person's name to signify either veneration,
official position or a professional or academic qualification see also.
As verbs the difference between subtitle and title
is that subtitle is to create subtitles for the dialog in a film while title is to assign
a title to; to entitle.
ILLUSTRATION
To illustrate is to make something more clear or visible. Children's books are
illustrated with pictures. An example can illustrate an abstract idea. The word
illustrate comes from the Latin illustrare 'to light up or enlighten.
Where is illustration used?
An illustration is a decoration, interpretation or visual explanation of a text,
concept or process, designed for integration in published media, such as posters,
flyers, magazines, books, teaching materials, animations, video games and films.
What is the difference between an example and an illustration?
An example is an instance of a whole, of a group. ... An illustration is a
description or an image that clarifies a statement.
The Purpose of Illustration in Writing
To illustrate means to show or demonstrate something clearly. An
effective illustration essay. clearly demonstrates and supports a point through the
use of evidence.
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TEXT CONNECTION
TEXT CONNECTION
Connections come in three forms:
• Text-to-self connections occur when something in the text reminds the
reader of a personal experience.
This reminds me of my own life…
I can relate to this character because…
If it was me, I would…
• Text-to-text connections occur when something in the text reminds the
reader of a previously read text.
This reminds me of another book I’ve read/movie I’ve watched…
This is different from the other book because…
This is the same as the other book because…
• Text-to-world connections are often narrowly defined as relating
something in the text to a current event. With this limited definition,
teachers often dismiss it as a viable reading comprehension strategy,
explaining that most of their students are unaware of state, regional,
national, or international events.
But instead of focusing on current events as “worldly” knowledge,
consider looking at information gained from everyday life.
This reminds me of _______ in history…
This reminds me of ________ going on in the word right now…
This is similar to _________ that’s happening in the news…
This is different to _______ that’s happening in the news…
PUNCTUATION MARKS
Punctuation is the system of signs or symbols given to a reader to show how a
sentence is constructed and how it should be read.
Sentences are the building blocks used to construct written accounts. They are
complete statements. Punctuation shows how the sentence should be read and
makes the meaning clear. Punctuation marks provide visual cues to readers to tell
them how to read a sentence. Punctuation marks convey meaning.
The Basic Signs of Punctuation
• the comma (,)
• the full stop(.)
• the exclamation mark(!)
• the question mark(?)
• the semi-colon (;)
• the colon (:)
• the apostrophe (‘)
• quotation marks (“”)
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• the hyphen (-)

• brackets () or [ ]
• the slash (/)
The Comma (,)

The comma is useful in a sentence when the writer wishes to:
• pause before proceeding
• add a phrase that does not contain any new subject
• separate items on a list
• use more than one adjective (a describing word, like beautiful)
For example, in the following sentence the phrase or clause between the commas
gives us more information behind the actions of the boy, the subject of the
sentence:
The boy, who knew that his mother was about to arrive, ran quickly towards the
opening door.
Note that if the phrase or clause were to be removed, the sentence would still make
sense although there would be a loss of information. Alternatively, two sentences
could be used:
The boy ran quickly towards the opening door. He knew that his mother was
about to arrive.
Commas are also used to separate items in a list.
For example:
The shopping trolley was loaded high with bottles of beer, fruit, vegetables, toilet
rolls, cereals and cartons of milk.
Note that in a list, the final two items are linked by the word ‘and’ rather than by
a comma.
Commas are used to separate adjectives.
For example:
The boy was happy, eager and full of anticipation at the start of his summer
holiday.
As commas represent a pause, it is good practice to read your writing out loud and
listen to where you make natural pauses as you read it. More often than not, you
will indicate where a comma should be placed by a natural pause. Although, the
‘rules’ of where a comma needs to be placed should also be followed.
For example:
However, it has been suggested that some bees prefer tree pollen.
Full Stop (.)

A full stop should always be used to end a sentence. The full stop indicates that
a point has been made and that you are about to move on to further explanations
or a related point.
Less frequently, a series of three full stops (an ellipsis) can be used to indicate
where a section of a quotation has been omitted when it is not relevant to the text,
for example:
“The boy was happy… at the start of his summer holiday.”
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A single full stop may also be used to indicate the abbreviation of commonly used
words as in the following examples:
• Telephone Number = Tel. No.
• September = Sept.
• Pages = pp.
Exclamation Mark (!)

An exclamation mark indicates strong feeling within a sentence, such as fear,
anger or love. It is also used to accentuate feeling within the written spoken word.
For example:
“Help! I love you!”
In this way, it can also be used to indicate a sharp instruction
• “Stop! Police!”
or to indicate humour
• “Ha! Ha! Ha!”
The exclamation mark at the end of a sentence means that you do not need a full
stop.
Exclamation marks are a poor way of emphasizing what you think are important
points in your written assignments; the importance of the point will emphasis
itself without a sequence of !!! in the text. An exclamation mark should only be
used when absolutely essential, or when taken from a direct quote.
The exclamation mark should be used sparingly in formal and semi-formal

writing.
Question Mark (?)

The question mark simply indicates that a sentence is asking a question. It always
comes at the end of a sentence:
For example:
Are we at the end?
Note that the question mark also serves as a full stop.
Semi-colon (;)
The semi-colon is perhaps the most difficult sign of punctuation to use
accurately. If in doubt, avoid using it and convert the added material into a new
sentence.
As a general rule, the semi-colon is used in the following ways:
When joining two connected sentences.
For example:
We set out at dawn; the weather looked promising.
or
Assertive behaviour concerns being able to express feelings, wants and desires
appropriately; passive behaviour means complying with the wishes of others.
The semi-colon can also be used to assemble detailed lists.
For example:
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The conference was attended by delegates from Paris, France; Paris, Texas;
London, UK; Stockholm, Sweden; Colombo, Sri Lanka; and Mumbai, India.
Colon (:)
The colon within a sentence makes a very pointed pause between two
phrases. There are two main uses of the colon:
It is most commonly used when listing.
For example:
She placed the following items into the trolley: beer, fruit, vegetables, toilet rolls,
cereals and cartons of milk.
Or it can be used within a heading, or descriptive title.
For example:
Human Resource Management: Guidelines for Telephone Advisers
Apostrophe (’)
The apostrophe, sometimes called an inverted comma has two main uses.
The apostrophe indicates possession or ownership.
For example:
The girl's hat was green, (girl is in the singular).
This shows the reader that the hat belongs to the girl.
The girls' hats were green, (girls in this instance are plural, i.e. more than one girl,
more than one hat).
This indicates that the hats belong to the girls.
Another use of the apostrophe is to indicate where a letter is omitted:
For example:
We're going to do this course. (We are going to do this course.)
Isn’t this a fine example of punctuation? (Is not this a fine example of
punctuation?)
The time is now 7 o’ clock. (The time is now 7 of the clock)
Note that a common mistake is to confuse its with it’s.
It’s indicates to the reader that a letter has been omitted.
For example:
It’s a lovely day is an abbreviated way of saying: It is a lovely day.
Note that in most formal writing, the practice of using abbreviated words
is inappropriate.
Quotation or Speech Marks (“….”)

Quotation or speech marks are used to:
1. To mark out speech
2. When quoting someone else's speech
For example:
My grandpa said, "Share your chocolates with your friends."
"George, don't do that!"
"Will you get your books out please?” said Mrs Jones, the teacher, “and quieten
down!"
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It is worth noting that to report an event back does not require speech or quotation
marks.
For example:
Mrs. Jones told the pupils to take out their books and to quieten down.
Hyphen (-)
The hyphen is used to link words together.
For example:
• sub-part
• eighteenth-century people
• week-end
• second-class post
• gender-neutral
• non-verbal
The hyphen is also used when a word is split between two lines. The hyphen
should be placed between syllables at the end of the upper line and indicates to
the reader that the word will be completed on the next line.
Brackets ( )
Brackets always come in pairs ( ) and are used to make an aside, or a point which
is not part of the main flow of a sentence. If you remove the words between the
brackets, the sentence should still make sense.
For example:
“The strategy (or strategies) chosen to meet the objectives may need to change as
the intervention continues.”
Another example is as follows:
“We can define class as a large-scale grouping of people who share common
economic resources, that strongly influence the types of lifestyle they are able to
lead. Ownership of wealth, together with occupation, are the chief basis of class
differences. The major classes that exist in Western societies are an upper class
(the wealthy, employers and industrialists, plus tops executives – those who own
or directly control productive resources); a middle class (which includes most
white-collar workers and professionals); and a working class (those in blue-
collar or manual jobs).” (Giddens, 1997, p.243)
Square Brackets […]
A different set of square brackets [ ] can be used:
• to abbreviate lengthy quotations
• to correct the tense of a quotation to suit the tense of your own sentence
• to add your own words to sections of an abbreviated quotation.
To abbreviate lengthy quotations in an essay or report
“We can define class as a large-scale grouping of people who share common
economic resources, that strongly influence the types of lifestyle they are able to
lead. Ownership of wealth, together with occupation, are the chief basis of class
differences. The major classes that exist in Western societies are an upper class
OSMEÑA COLLEGES
[…]; a middle class […] and a working class […].”

(Giddens, 1997, p.243)
To adjust a quotation to suit your own sentence
For example, if you were writing about class structure, you might use the
following:
According to Giddens, (1997, p.243) the “[o]ownership of wealth, together with
occupation, are the chief basis of class differences”.
Note, that when using square brackets, only the occasional letter as in
the above example or the occasional word (for example when changing the
tense of the sentence) would be placed in square brackets in this way.
Slash (/)
Many people use the slash instead of or, and etc., but this is not always helpful to
the reader.
NOTE: Capital Letters

The correct use of capital letters is also important in writing.
Fantastic! It’s the end of your module. I think you’re ready

now to test and practice what you have learned.
IMPORTANT NOTES
✓ Anglo is a Late Latin prefix used to denote English. The word is derived
from Anglia, the Latin name for England, and still the modern name of
its eastern region. Anglia and England both mean land of the Angles, a
Germanic people originating in the north German peninsula of Angeln.
✓ There are five literary periods in Anglo and eight for American literature.
✓ A lyric poem or lyrical poem in literature is a poem in which the poet

either expresses his feelings and emotions.
✓ A song is a lyrical poem which is sung with the playing of some musical
instrument.
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✓ A graphic organizer is a visual diagram that represents the information.

in the text. Refer students to the Text Structure Cue Sheet for visual
examples.
✓ A bland title could turn a reader away from your story, essay or book. A
creative title, on the other hand, grabs a reader's attention while hinting
at what's to come.
✓ Connections come in three forms: (Text-to-self connection, Text-to-

text connection, Text-to-world connection)
Language in Literature (Anglo-American Literature). Vibal

https://www.masterclass.com/articles/sensory-imagery-in-creative-
writing#what-is-the-purpose-of-sensory-imagery-in-writing
https://blog.reedsy.com/literary-devices/
https://study.com/academy/lesson/literary-devices-definition-examples-
quiz.html
https://www.academia.edu/26563552/Anglo_American_Literature#:~:tex
t=Anglo%2DAmerican%20Literature%20Anglo%2DAmerican,the%20
Victorian%20and%20modern%20periods.
https://literarydevices.net/lyric-poem/
https://www.slideshare.net/joann65/types-of-lyric-poetry?from_action=save
https://www.bachelorandmaster.com/literaryterms/song.html#.X1YuA3kzbcd
https://www.yourdictionary.com/poem
https://www.masterclass.com/articles/poetry-101-learn-about-poetry-different-
types-of-poems-and-poetic-devices-with-examples#15-types-of-poetic-forms
https://en.wikipedia.org/wiki/Allegory
https://www.litcharts.com/literary-devices-and-terms/allegory
http://www.litclasses.com/winter/Lect11.
https://blog.lingoda.com/en/importance-of-punctuation-english
iterarydevices.net/interjection
https://www.thoughtco.com/notes-on-interjections-1692680
https://nybookeditors.com/2017/02/coming-perfect-title-novel/
https://penandthepad.com/do-creative-title-8430994.html
https://www.loc.gov/nlsold/other/annotation/subtitles.html
https://wikidiff.com/subtitle/title
https://en.wikipedia.org/wiki/Illustration
https://www.quora.com/English-language-What-is-the-difference-between-an-
example-and-an-illustration
illustrate - Dictionary Definition : Vocabulary.com
www.vocabulary.com › dictionary › illustrate
https://www.dltk-teach.com/fairy-tales/ugly-duckling/story.htm
OSMEÑA COLLEGES
https://www.smekenseducation.com/broaden-the-meaning-of-text-to-world-
connections/
https://thisreadingmama.com/making-connections-reading-strategy/
https://saylordotorg.github.io/text_writing-for-success/s07-punctuation.html#
https://www.skillsyouneed.com/write/punctuation1.html#
https://www.poetryfoundation.org/poems/44272/the-road-not-taken
https://www.poetryfoundation.org/poems/47347/the-weary-blues
http://academic.brooklyn.cuny.edu/english/melani/cs6/stop.html
SELF- ASSESSMENT ACTIVITIES

NAME:______________________________ SUBJECT: ________________

GRADE&BLOCK:____________________QUARTER: _______________
ACTIVITY 1
Directions: Identify what literary device is implied.
1. “Just before it was dark, as they passed a great island of Sargasso weed that
heaved and swung in the light sea as though the ocean were making love with
something under a yellow blanket, his small line was taken by a dolphin.” —
The Old Man and the Sea by Ernest Hemingway
2. Animal Farm by George Orwell.
3. “Peter Piper picked a pot of pickled peppers.”
4. “This list of literary devices will turn me into a bona fide Mark Twain.”
5. “Wishes are thorns, he told himself sharply. They do us no good, just stick
into our skin and hurt us.”
Directions: Identify what kind of Sensory Imagery is implied.
1. Engages the sense of smell. Scent is one of the most direct triggers of memory
and emotion, but can be difficult to write about.
2. Engages the feeling of movement.
3. Engages the sense of hearing.
4. Engages the sense of taste.
5. This is what you can feel, and includes textures and the many sensations a
human being experiences when touching something. Differences in temperature
is also a part of tactile imagery
ACTIVITY 2
Directions: Identify what is being implied.
1. A short expression that writers use to express emotion.
OSMEÑA COLLEGES
2. Is used to convey and clarify the meaning of written language. It is such

simple marks as the full stop or the comma, and the more complex ones of
semicolons and hyphens.
3. Has been derived from lyre; a musical stringed instrument used during the
Grecian period to accompany the poetry sung during different festivities.
4. This kind of allegory uses characters and events to symbolize abstract things
rather than actual events or people.
5. Refers to the words a poet chooses to use. Word choice is extremely
important in poetry, since the poem is such a compact form. Every word counts.
Directions: Give the types of Poetic Forms with BRIEF definition.
ACTIVITY 3
Directions: Make a story map from the text below. (Use a separate sheet)
The Ugly Duckling

There was once a mother duck. This mother duck had no children yet for none
of her eggs had hatched.
She waited patiently day and night for her babies to hatch. One day, as she was
sitting on her nest of eggs the mother duck felt something move beneath her.
CRACK!! CRACK!! CRACK!! CRACK!!
Filled with happiness, the mother duck watched as, one by one, her eggs
hatched. She was so excited to lead her children to the pond and teach them all
the ways of being a duck. Unfortunately for the mother duck, one egg was left
to hatch. This egg was larger than the rest. This egg was browner than the rest.
Her little ducks impatiently waited for two more days and nights.
“I want to go to the pond, Mother,” one baby duck quacked.
“Let’s go! Let’s go!” two more quacked excitedly.
But the mother duck made them all wait, for she promised herself that she would
love all her children the same.
At the crack of dawn on the third day of waiting, the large brown egg began to
vibrate. It shook and shook as all of the ducks watched in awe.
Then suddenly: CRAAAAACK!!!
Out from the large brown egg popped a large, strange looking head of a bird that
didn’t look much like a duck. This baby’s beak was a little too long, his feathers
were a little too scruffy, and his face was a little too ugly!
But, nonetheless, the mother duck promised herself that she would love all her
children the same.
She led her children into the nearby pond and began to teach each duckling how
to be a proper duck.
She taught them how to quack. Each duckling quacked.
QUACK!! QUACK!! QUACK!! QUACK!!
The ugly duckling quacked.
CRAOAUK!!
All of the ducks in the pond stared at the ugly ducking and began to laugh. The
mother duckling sadly took her little ducklings over to a different part of the
OSMEÑA COLLEGES
pond. The other ducklings were giggling and making fun of the ugly one. Two
nearby ducks swam by and pecked at the ugly duckling’s feathers.
“This one looks nothing like your others!” one jested.
“This one is ugly!” the other scoffed.
The ugly duckling hung his head in shame. The mother duckling became very
embarrassed of her ugly duckling and made him stay in the corner of the pond
while the others practiced swimming, diving, quacking, and splashing.
One evening, as all of the ducks in the pond had gone to sleep, the ugly duckling
decided that it was time for him to leave. He knew he was causing his mother
distress and he did not want to live in a place where he felt unwanted.
So the little ugly duckling ran away.
He waddled far away from the pond where he was born. He waddled through
small marsh plants and large river reeds. He waddled over bundles of sticks and
piles of dung. All this waddling made him dirtier than ever.
He approached a new pond that was filled with a family of different ducks.
These ducks were happily swimming and quacking. He advanced one of the
ducklings who looked to be just a bit larger and older than the ugly duckling.
“Hello there!” beamed the ugly duckling to the other duckling. With this, the
new family of ducks turned and stared at the ugly duckling.
“And who are you?” asked the mother duck.
“What are you?” asked the father duck.
“You sure are ugly!” all the ducklings chimed in.
As this family of ducks began to quack and laugh at the ugly ducking, he
waddled off again in search of a nicer family to call his own.
He waddled far away from the pond with the family of ducks. He waddled
through small marsh plants and large river reeds. He waddled over bundles of
sticks and piles of dung. All this waddling made him even dirtier than before!
Next the ugly duckling came to an even larger pond filled with a family of
geese. The goslings were a brown-gray like he was! Happily, the ugly duckling
waddled to the water’s edge, plopped his little body in the water, and swam
towards the family of geese. He advanced one of the goslings who looked even
larger and greyer than him.
“Hello there!” the ugly ducking happily exclaimed, greeting the gosling. With
this, the family of geese turned and stared at the ugly duckling.
“And who are you?” asked the mother goose.
“What are you?” asked the father goose.
“You sure are ugly!” all the goslings chimed in.
As this family of ducks began to honk and laugh at the ugly ducking. Before the
duckling could waddle off the geese surrounded him and the father goose said,
“Though you are quite strange looking you may stay with us! You are more
than welcome to join our family.”
The ugly duckling couldn’t be happier. The geese were very kind to him though
their honks hurt his ears.
Many days and nights passed and the ugly duckling was living happily with the
geese. He loved to play with the goslings and the mother and father treated him
like their own. Everything was perfect. Until…
OSMEÑA COLLEGES
A hunter and his basset hound approached the pond. The hunter began firing off
shots at the geese and the hound chased the birds around the pond trying to catch
one. The ugly duckling could do nothing but sit still. As the hound approached
him, sniffed for awhile and cocked its head, “What are you? You sure are
ugly!” it said before it ran off in search of a real goose.
In the midst of the hunter’s ambush, the ugly duckling sadly waddled off once
more.
He was growing larger; his feathers were coming in and the ugly duckling was
able to fly off the ground. However, the ugly duckling had become very weak
and hungry; he did not have enough strength to fly.
Instead he waddled his way to a small house where he took shelter during the
night.
In the morning, the ugly duckling awoke to the sounds of human chatter.
“What is it?” an old woman asked.
“A duck, perhaps?” her husband replied.
“Just what we’ve needed!” the woman exclaimed.
With that, the farmer and his wife allowed the ugly duckling to live with them in
the hopes that the duck would lay eggs for them to eat.
They waited and waited… and waited. But nothing happened. The ugly
duckling never laid eggs; he did, however, grow larger and harder to take care
of.
Though the farmer and his wife had grown fond of the ugly duckling, they had
no more room him in their house.
And so, they shooed him out.
“Go find yourself a family that will love you!” shouted the farmer, sadly, as he
shut the door.
The ugly duckling hung his dead and waddled far away from the farmer’s house.
He waddled through now frozen marsh plants and large frozen river reeds. He
waddled over frozen bundles of sticks and frozen piles of dung. All this
waddling made him colder than ever.
Miraculously, the ugly duckling had survived the cold winter. With spring, all
of the frozen ponds melted and the frost evaporated from the marsh plants and
river reeds. The ugly duckling was still sad, however.
He approached a crystal-clear pond and saw a family of the most beautiful birds
he had ever seen - swans.
As he sat by the water’s edge, he didn’t even dare to ask these birds if he could
join, for he knew if he was too ugly to live with ducks, geese, and humans, he
was surely too ugly to live with a gorgeous bevy of swans.
Suddenly, a swan gracefully glided through the water over to where the ugly
duckling was sitting.
“My, my! Your feathers are the whitest I have ever seen. How they gleam in
the sun!” the swan exclaimed to the ugly duckling.
Confused, the ugly duckling wandered to the water and peered at his reflection.
Much to his surprise, he was not an ugly duckling, for he was not a duck at all!
He was a beautiful white swan with a long and elegant neck.
He entered the water and joined his new family.
OSMEÑA COLLEGES
One day, as the swans were swimming, a man and his wife came strolling by
with their child. The swan recognized this couple as the farmer and his wife.
They approached the edge of the pond and began to feed the swans
breadcrumbs.
The farmer looked at the once ugly ‘duckling’ and said, “It looks like you found
yourself a niche – a family. You are the most beautiful swan I have ever seen.”
For the rest of his days, the swan lived happily with his new swan family and
was greeted often by the farmer and his family.
The End.
ACTIVITY 4
Directions: Make Connections in three forms with the following texts. (Use
a separate sheet)
(Text-to-self connection, Text-to-text connection, Text-to-world connection)
Two roads diverged in a wood, and

The Road Not Taken I—
BY ROBERT FROST I took the one less traveled by,
Two roads diverged in a yellow And that has made all the
wood, difference.
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I The Weary Blues
could BY LANGSTON HUGHES
To where it bent in the Droning a drowsy syncopated tune,
undergrowth; Rocking back and forth to a mellow
croon,
Then took the other, as just as fair, I heard a Negro play.
And having perhaps the better Down on Lenox Avenue the other
claim, night
Because it was grassy and wanted By the pale dull pallor of an old gas
wear; light
Though as for that the passing there He did a lazy sway. . . .
Had worn them really about the He did a lazy sway. . . .
same, To the tune o’ those Weary Blues.
With his ebony hands on each ivory
And both that morning equally lay key
In leaves no step had trodden black. He made that poor piano moan with
Oh, I kept the first for another day! melody.
Yet knowing how way leads on to O Blues!
way, Swaying to and fro on his rickety
I doubted if I should ever come stool
back. He played that sad raggy tune like a
musical fool.
I shall be telling this with a sigh Sweet Blues!
Somewhere ages and ages hence: Coming from a black man’s soul.
OSMEÑA COLLEGES
O Blues! And can’t be satisfied—

In a deep song voice with a I ain’t happy no mo’
melancholy tone And I wish that I had died.”
I heard that Negro sing, that old And far into the night he crooned
piano moan— that tune.
The stars went out and so did the
“Ain’t got nobody in all this world, moon.
Ain’t got nobody but ma self. The singer stopped playing and
I’s gwine to quit ma frownin’ went to bed
And put ma troubles on the shelf.” While the Weary Blues echoed
through his head.
Thump, thump, thump, went his He slept like a rock or a man that’s
foot on the floor. dead.
He played a few chords then he
sang some more—
“I got the Weary Blues
And I can’t be satisfied.
Got the Weary Blues
END OF MODULE ASSESSMENT

NAME:______________________________ SUBJECT: ________________

GRADE&BLOCK:____________________QUARTER: _______________
ACTIVITY1. Understand what you read. Write an answer to each

question.
1. What does “Anglo” mean in Anglo-American Literature?

2. How does the periods of literature of Anglo differ from American?
3. Why do you think you have to be oriented with the periods of literature
of Anglo-American?
4. How does literary devices function towards literature?
5. Justify: Sensory imagery must be present in literature.
OSMEÑA COLLEGES
II. Give the functions of the following.
1. Hyperbole
2. Imagery
3. Personification
4. Irony
5. Metaphor
6. Visual
7. Tactile
8. Gustatory
9. Olfactory
10. Auditory
ACTIVITY 2. Understand what you read. Write an answer to each

question.
1. How does Interjection give color to poetry?
2. Why are Interjections plays a big role in poetry writing?
3. Why do you think the literary devices discussed are a must to know?
4. Give the standard word order in English.
5. Differentiate: Word Choice from Word Order.
II. Give the functions of the following:
1. Comma
2. Quotation marks
3. Exclamation point
4. Hyphens
5. Period
OSMEÑA COLLEGES
ACTIVITY 3. Using the KWL chart tell how your learning were.
TITLES, SUBTITLES & ILLUSTRATIONS
ACTIVITY 4. Distinguish the meaning conveyed in the lines from the poem
above. (explain in 5-10 sentences)
Because I could not stop for Death,

He kindly stopped for me;
The carriage held but just ourselves
And Immortality.
We slowly drove, he knew no haste,
And I had put away
My labor, and my leisure too,
For his civility.
OSMEÑA COLLEGES
II. Construct sentences using the following punctuations correctly.
• the comma (,)

• the full stop(.)
• the exclamation mark(!)
• the question mark(?)
• the semi-colon (;)
• the colon (:)
• the apostrophe (‘)
• quotation marks (“”)
• the hyphen (-)
• brackets () or [ ]
• the slash (/)
Bravo! You finally reach the end of the whole module. For now, rest and
remember everything that you have learned. See you on our next topic.
OSMEÑA COLLEGES
ENGLISH 9. 3rd Quarter. Page 46 of 46
OSMEÑA COLLEGES

First Quarter G9 MODULE

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First Quarter G9 MODULE

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ENGLISH 9. 1st Quarter.

Republic of the Philippines

GRADE AND BLOCK

Chapter 1 From the Anglo-Saxons to the Classicists

Lesson 1 LITERARY PERIODS IN ANGLO LITERATURE ..……. 8-16

Old English Literature (450-1100)…….………………………………….. 8

Lesson 2 LITERARY DEVICES…………………. ………...........12-16

Sensory Images……………………………. ……................................. 15-16

Lesson 3 POETRY ……………………………………………… 16-24

Word Order, punctuation marks and interjections in poetry …….. 21-24

Lesson 4 ORGANIZERS ………………………………………... 24-29

Organizers for Writing ……………………………………………….. 24-25

Lesson 5 TEXT CONNECTION ………………………………. 30-35

Important Notes …………………………………………………. 35-36

• Distinguish how Anglo-American literature relates to one’s self.

• Anglo is a Late Latin prefix used to denote English.

Icons of this Module

Introduction These are discussions of the activities as a

Reference These are the resources where all the

ACTIVITY 1 Directions: In a separate sheet of paper, make a simple

ACTIVITY 2 Directions: In a separate sheet of paper, make a simple

ACTIVITY 3 Directions: In a separate sheet of paper, make a simple organizer

ACTIVITY 4 Directions: In a separate sheet of paper, construct 3-5

LITERARY PERIODS IN ANGLO LITERATURE

Anglo is a prefix indicating a relation to the Angles, England, the English

LITERARY PERIODS IN ANGLO LITERATURE

Middle English Literature: 1100-1500

• In this period religious literature continued to enjoy popularity

Sample Literary Masterpieces:

Sir Gawain and the Green Knight

English Renaissance: 1500-1660

Sample Literary Masterpiece: Book of Common

NEO-CLASSICAL PERIOD: Restoration Age:(1660-1700)

• Augustan literature (1700-1750) and Age of sensibility: (1750-

Sample Literary Masterpiece:

• English literary modernism developed out of a general sense of

Sample Literary Masterpieces:

PERIODS IN AMERICAN LITERATURE

• Instructive and reinforces authority of the Bible and church.

REVOLUTIONARY/ AGE OF REASON 1750-1800

• Patriotism grows; Instills pride; Creates common agreement

• Value feeling and intuition over reasoning; Journey away from

AMERICAN RENAISSANCE/ TRANSCENDENTALISM 1840-1860

• Transcendentalists: True reality is spiritual; Idealists; Self-

PERIODS IN AMERICAN LITERATURE REALISM 1855-1900

• Social realism: aims to change a specific social problem

PERIODS IN AMERICAN LITERATURETHE MODERNS 1900-1950

• In Pursuit of the American Dream; Admiration for America as

HARLEM RENAISSANCE (Parallel to modernism) 1920s

• Allusions to African-American spirituals ; Uses structure of

• GENRE/STYLE: Gave birth to "gospel music"

PERIODS IN AMERICAN LITERATURE POSTMODERNISM (1950

• Erodes distinctions between classes of people; Insists that values

Literary Devices: Definition & Examples

While there are literally hundreds of literary devices at an author's

Example: “Peter Piper picked a pot of pickled peppers.”

What Is the Purpose of Sensory Imagery in Writing?

Describing how something tastes, smells, sounds, or feels—not just how it

6 Different Types of Sensory Imagery

“FROM the forests and highlands

The birds on the myrtle bushes,

Types of Poetic Forms:

it represents a melodious form of storytelling. Learn more about ballads

A discourse for the purpose of religious instruction or exhortation, especially one

NAME:______________ SUBJECT:

NAME:______________ SUBJECT: