Senior High School

Elements, Structures, and Traditions

of the Literary Genres in the
21st Century and the Earlier Periods
21st Century Literature from the Philippines and the World
Alternative Delivery Mode
Quarter 1—Module 6: Elements, Structures, and Traditions of the Literary Genres
in the 21st Century and the Earlier Periods
First Edition, 2020

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Published by the Department of Education

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Undersecretary: Diosdado M. San Antonio

Development Team of the Module

Writers: Danna Lee I. Teleron and Vershyl A. Mendoza

Editor: Dr. Elmalou L. Orandoy
Reviewers: Dr. Clavel D. Salinas
Mrs. Marivic M. Yballe (Moderator)
Illustrators: Danna Lee I. Teleron and Vershyl A. Mendoza
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 Senior High School

Elements, Structures, and Traditions

of the Literary Genres in the
21st Century and the Earlier Periods
 Key Message

For the Facilitators:

Learning is a constant process. Amidst inevitable circumstances, Department of Edu-

cation extends their resources and looks for varied ways to cater your needs and to adapt to
the new system of Education as a fortress of Learning Continuity Plan. One of the probable
solutions is the use of Teacher-made Educational Modules in teaching.

You are reading the 21st Century Literature from the Philippines and the World:
First Quarter Alternative Delivery Mode (ADM) Module on “comparing and contrasting
the various 21st century literary genres and the ones from the earlier genres/periods cit-
ing their elements, structures, and traditions (EN12Lit-Id-25)” as written and found in the
K-12 Most Essential Learning Competencies.

The creation of this module is a combined effort of competent educators from differ-
ent levels and various schools of Department of Education-Cebu Province. This module is
meticulously planned, organized, checked and verified by knowledgeable educators to assist
you in imparting the lessons to the learners while considering the physical, social and eco-
nomical restraints in teaching process.

The use of Teacher-Made Educational Module aims to overcome the challenges of

teaching in a new normal education set-up. Through this, the students are given independent
learning activities based on the Most Essential Learning Competencies which are anchored
in the K-12 Curriculum Competencies, to work on them in accordance with their capability,
efficiency and time. Thus, this is helping the learners acquire the prerequisite 21 st Century
skills needed by considering the holistic well-being of the learners.

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

Notes to the Teacher!

This part of the module gives you helpful tips,

suggestions or strategies that will make the
learning process easy and efficient to the
learners.

It is your top priority to explain clearly to the learners on how to use this module as
the main source of learning. You are to assess learners' progress and development which
should be recorded verbatim to evaluate their strengths and weaknesses while they are inde-
pendently doing the activities presented in the safety of their homes. In addition, you are
anticipated to encourage learners to comply and to finish the modules on or before the
scheduled time.

iv
For the Learners:

Because you are a significant stakeholder of learning, the Department of Education

researched and explored on innovative ways to address your needs with high consideration
on social, economic, physical and emotional aspects of your well-being. To continue the
learning process, DepEd comes up with an Alternative Delivery mode of teaching using
Teacher-Made Educational Modules.

You are reading the 21st Century Literature from the Philippines and the World:
First Quarter Alternative Delivery Mode (ADM) Module on “comparing and contrasting
the various 21st century literary genres and the ones from the earlier genres/periods cit-
ing their elements, structures, and traditions (EN12Lit-Id-25)” as written and found in the
K-12 Most Essential Learning Competencies.

This module is especially crafted for you to grasp the opportunity to continue learning
even at home. Using guided and independent learning activities, rest assured, you will be
able to take pleasure as well as to deeply understand the contents of the lesson presented;
you will recognize your own capacity and capability in acquiring knowledge.

This module has the following parts and corresponding icons:

The first part of the module presents the Com-

WHAT I NEED TO KNOW petencies, Objectives and Skills expected to be
developed and mastered.

WHAT I KNOW This part aims to check the prior knowledge on

the lesson to be taken.

WHAT’S IN This part helps in linking the previous lesson to

the current one through a short exercise/drill.

The lesson to be partaken is introduced in this

WHAT’S NEW part of the module creatively. It may be through
a story, a song, a poem, a problem opener, an
activity, a situation or the like.

A brief discussion of the lesson can be read in

WHAT IS this part. It guides and helps you unlock the les-
son presented.

A comprehensive activity/ies for independent

practice is in this part to solidify your
WHAT’S MORE knowledge and skills of the given topic.

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 This part of the module is used to process the
WHAT I HAVE LEARNED
learning and understanding on the given topic.

A transfer of newly acquired knowledge and

WHAT I CAN DO skills to a real life situation is present in this
part of the module.

ASSESSMENT This activity assesses the level of mastery to-

wards the topic.

ADDITIONAL ACTIVITIES In this section, enhancement activities will be

given to further grasp the lessons.

ANSWER KEYS This contains answers to all activities in the

module.

At the end of this module you will also find:

References Printed in this part is a list of all reliable and valid resources
used in crafting and designing this module.

In using this module, keep note of the fundamental reminders below.

1. The module is government owned. Handle it with care. Unnecessary marks

are prohibited. Use a separate sheet of paper in answering all the given ex-
ercises.
2. This module is organized according to the level of understanding. Skipping
one part of this module may lead you to confusion and misinterpretation.
3. The instructions are carefully laden for you to understand the given lessons.
Read each items cautiously.
4. This is a Home-Based class, your reliability and honor in doing the tasks
and checking your answers are a must.
5. This module helps you attain and learn lessons at home. Make sure to clear-
ly comprehend the first activity before proceeding to the next one.
6. This module should be returned in good condition to your teacher/facilitator
once you completed it.
7. Answers should be written on a separate sheet of paper or notebook espe-
cially prepared for this subject.

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 If you wish to talk to your teacher/educator, do not hesitate to keep in touch with him/
her for further discussion. Know that even if this is a home-based class, your teacher is only
a call away. Good communication between the teacher and the student is our priority to
flourish your understanding on the given lessons.

We do hope that in using this material, you will gain ample knowledge and skills for
you to be fully equipped and ready to answer the demands of the globally competitive
world. We are confident in you! Keep soaring high!

WHAT I NEED TO KNOW

Good day dear learner!

This course aims to engage students in appreciation and critical study of 21st Century
Literature from the Philippines and the World encompassing their various dimensions,
genres, elements, structures, contexts, and traditions. It is a study and appreciation of the
literature of the region where the school is located in relation to the literature of the other
regions of the country.

This module is solely prepared for you to access and to acquire lessons befitted in
your grade level. The exercises, drills and assessments are carefully made to suit your level
of understanding. Indeed, this learning resource is for you to fully comprehend the elements,
structures, and traditions of the literary genres in the 21st Century and the earlier periods.
Independently, you are going to go through this module following its proper sequence. Alt-
hough you are going to do it alone, this is a guided lesson and instructions/directions on how
to do every activity is plotted for your convenience.

Using this learning resource, you are ought to compare and contrast the various 21st
century literary genres and the ones from the earlier genres/periods citing their elements,
structures, and traditions (EN12Lit-Id-25) as inculcated in the K-12 Most Essential
Learning Competencies.

At the end of this module, you are expected to achieve the following objectives:

 Distinguish the elements of poetry, fiction, and drama

 Compare and contrast literary elements, structures, and traditions of the 21st
century and the earlier periods
 Summarize the similarities and differences of the sample literary pieces of the
21st century and the earlier periods
 Write a slogan to show one’s understanding of the theme of a chosen selection

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 WHAT I KNOW
Can you find your way out of this maze? To help you fig-
ure out the right way, identify what literary term is meant
A-MAZE-ING RACE by each statement. Good luck in finding your way out!

 Word or words that appeal to any of the five  A figure of speech used to suggest or imply
senses comparison between two unlike things
 Usually the hero of the story  The place and the time where and when an
 Storylines that are spoken by the characters event happens
in the drama  The central idea, the thesis, the message a
 Two or more words that contain the same story conveys, or a generalization or an ab-
combination of vowel and consonant straction from it
sounds.  The groups of lines, like paragraph in prose
 The voice we hear in the poem but not nec-  The speaker's attitude toward a subject
essarily the poet

Figurative Language
Antagonist
Imagery

Climax
Static Characters

Irony
Apostrophe
Personification
Dialogue

Protagonist
Rhyme Rhythm
Plot

Diction Mood
Dramatis Personae Point of View
Hyperbole

Persona
Stanzas
Metaphor

Simile

Stage
Theatre
Setting Theme Tone

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 WHAT’S IN
Organize the lines corresponding to how they appeared
TARUNGA, TING! in the poem “Sulat Alang kang Berting.” Write the
letters A to J to indicate their sequence.

Sulat Alang kang Berting

1. Nahimo na kining libon, lasang. Ang ilado kaayong dalan sa
2. gandoy, ug lisod na ang pagpangita sa dalan paingon kanimo.
3. Ting, he likes me. He want to marry me. And he brings me to America.
4. akong pagbati kaniadto, nahanaw na, natabonan sa mga nag
5. snow. Gikapoy nakog puyo sa gamay natong baryo, Ting.
6. akong kutis nga morag kolor sa kugal nga sambag. Ingon siya,
7. Ayaw na lang ko paabota. Nasaag nako sa akong mga pan-
8. Kapoy sigeg ugmad sa yuta nga di ato. Naay nagtudlo nako og
9. pangamay nga paglaom nga makakitag makahikap og
10. chat diri sa 7. Naa koy nakit-ang Kano nga ganahan kaayo sa

Do you still remember what happened in the short story “The

WHAT ISDA PLOT? Witch?” Arrange the right sequence of the plot by writing the
letters on the fishbone.
The Witch
A. “Where do you live?” I asked.
B. Minggay was known as a witch even beyond Libas.
C. She lived in a small, low hut at the back of the creek.
D. She looked kind. She was probably as old as my grandmother.
E. One morning I thought of bringing home shrimps to my mother.
F. So I went to a creek and I came upon an old woman taking a bath.
G. It was through these visits that I heard many strange stories about Minggay Awok.
H. When I was twelve years old, I used to go to Libas to visit my favorite uncle, Tio Sabelo.
I. She must have seen the fright that suddenly leaped into my face, “I’m going now,” I said.
J. She did not speak, but her strange young eyes were probing and looked grotesque in the old
woman’s face. “Not far from here--the house on the high bank, across the balete.”

1.
5.

9.
6. 2.

7. 3.
10.

8.
4.

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 WHAT’S NEW

Are you a keen observer? Spot 15 differences

SPOT THE DIFFERENCE from the two photos by encircling them.

Source: Katie Rose. Spot the Difference Printable – Black and White. Pinterest. Accessed August 2020.
https://www.pinterest.ph/pin/37084396910919585/.

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 WHAT IS IT Study the elements, structures and traditions of the
three literary genres in the pages that follow and
LITERARY TRILOGY read the sample selections after.

ELEMENTS AND FORMS OF POETRY

SENSE
1. Theme — the main point or the insight to be derived from the poem.
2. Speaker/persona — the fictitious character whose voice we hear in the poem. In the same
way that a narrator is not necessarily the author, the speaker is not necessarily the poet and not nec-
essarily human (though usually possessing human traits). The speaker may either be an observer or
a direct participant in the dramatic situation that he/she/it is speaking about.
3. Dramatic situation — the moment (in lyric poetry) or series of events in narrative poetry
that the speaker speaks about in the poem.
4. Diction — refers to word choice because a poet chooses a word to achieve a certain senso-
ry, emotional, or intellectual effect.
5. Figurative language/Figures of speech — comparisons or substitutions that, for the sake
of freshness, emphasis, or surprise, depart from the usual denotation of words. In other words, non-
literal use of language.
a. Simile—is the term used to designate the easiest form of resemblances: most similes
are introduced by "like" or "as." These comparisons are usually between dissimilar situations or ob-
jects that have something in common, such as "My love is like a red, red rose."
b. Metaphor—leaves out "like" or "as" and implies a direct comparison between objects
or situations. "My love is a sun."
c. Synecdoche—is a figure of speech in which a word or phrase that refers to a part of
something is substituted to stand in for the whole, or vice versa. For example, the phrase “we live
under the same roof” means “we live in the same house.” The word roof is used to substitute house.
d. Metonymy—is a figure of speech in which something is called by a new name that is
related in meaning to the original thing or concept. In the statement “the pen is mightier is than
sword,” the pen (a tool used to write) refers to writing and the sword (a weapon used in wars) means
military power.
e. Personification—occurs when you treat abstractions or inanimate objects as human,
that is, giving them human attributes, powers, or feelings (e.g., "nature wept" or "the wind whis-
pered many truths to me").
6. Imagery —imagery consists of descriptive language that can function as a way for the
reader to better imagine the world of the piece of literature and also add symbolism to the work.
Imagery draws on the five senses, namely the details of taste, touch, sight, smell, and sound.
7. Tone — the speaker's attitude toward a subject (himself/herself/itself, an object, another,
character, an event, or an idea). Tone is usually an effect of diction and may be affectionate, earnest,
playful, sarcastic, respectful, serious, humorous, surprised, angry, nostalgic, tender, expectant, etc.

SOUND
— refers to the patterns of consonants and vowels, in tandem with meaning, that contribute greatly
to the poem's effect. For example, the sibilant "s" in "calm is the sea, the waves work less and less"
suggests the sound of swishing water.
1. Euphony — the sound of the words are harmonious together
2. Cacophony — the sounds are harsh or discordant sound
3. Onomatopoeia — a word that imitates the sound it denotes, e.g. "zoom," "crash," "bang"
4. Alliteration — the repetition of the same consonant sound at the beginning of or inside
successive words (e.g., "so smooth, so sweet, so silv'ry is thy voice”).

5
 5. Assonance — the repetition of the same vowel sound at the beginning or inside successive
words (e.g., "eager beaver”).
6. Consonance — the repetition of consonant sounds (anywhere in the middle or end of a line
or stanza) - And all the air a solemn stillness holds. (T. Gray)
7. Repetition — the repetition of entire lines or phrases to emphasize key thematic ideas.
8. Refrain — a line or stanza repeated over and over in a poem or song.
9. Rhyme— the repetition of similar sounds. In poetry, the most common kind of rhyme is
the end rhyme, which occurs at the end of two or more lines. It is usually identified with lower case
letters, and a new letter is used to identify each new end sound. Take a look at the rhyme scheme for
the following poem :

I saw a fairy in the wood, (a)

He was dressed all in green. (b)
He drew his sword while I just stood, (a)
And realized I'd been seen. (b)

The rhyme scheme of the poem is abab.

.
Internal rhyme occurs in the middle of a line, as in these lines from Coleridge, "In mist or
cloud, on mast or shroud" or "Whiles all the night through fog-smoke white" ("The Ancient Mari-
ner"). Remember that most modern poems do not have rhyme.

10. Rhythm —the recurrence of stresses and unstressed syllables in a poem. A stress or accent
is a greater amount of force (breath, loudness, pitch) given to one syllable. The rhythm of a poem
can be analyzed through the number of lines in a verse, the number of syllables in the line, and the
arrangement of syllables based on whether they are long or short, accented or unaccented.
Example:
MOther (MO—is the stressed syllable; ther is the unstressed syllable)
deCIDE (de—unstressed; cide—stressed)
Poetic Foot— is a basic repeated sequence of meter composed of two or more stressed or un-
stressed syllables.
a. Meter— the systematic rhythm or sound pattern (of stressed and unstressed syllables)
that is usually identified by examining the type of "foot" and the number of feet.
b. Number of Feet—refers to how many times
one foot = monometer
two feet = dimeter
three feet = trimeter
four feet = tetrameter
five feet = pentameter
c. Irregularity—many metered poems in English avoid perfectly regular rhythm
because it is monotonous.
d. Blank Verse— is any poetry that does have a set metrical pattern, but does not have
rhyme. Shakespeare frequently used unrhymed iambic pentameter in his plays; his works are an ear-
ly example of blank verse.
e. Free Verse—Most modern poetry no longer follows strict rules of meter or rhyme,
especially throughout an entire poem. Free verse, frankly, has no rules about meter or rhyme

6
STRUCTURE
— refers to the way it is presented to the reader

1. 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.
2. Poetic Line—the words that form a single line of poetry. One way to identify a stanza is to
count the number of lines. Thus:
couplet (2 lines)
tercet (3 lines)
quatrain (4 lines)
cinquain (5 lines)
sestet (6 lines)
septet (7 lines)
octave (8 lines)
3. Form— a poem may or may not have a specific number of lines, rhyme scheme and/or met-
rical pattern, but it can still be labeled according to its form or style.
a. Lyric Poetry—is any poem with one speaker who expresses strong thoughts and feelings
(Ode, Sonnet, Elegy)
b. Narrative Poem—is a poem that tells a story (Ballad, Epic, Metrical Tale)
c. Dramatic poetry—also known as dramatic verse or verse drama, is a written work that both
tells a story and connects the reader to an audience through emotions or behavior.
4. Enjambment—when there is no written or natural pause at the end of a poetic line, so that
the word-flow carries over to the next line.
Penelope, kaon og binangkal.*
Walay pulos kanang magsige’g
Ginansilyo – kanang magsige’g
Paabut nianang tawo nga galisud
Og tultol sa iyang panimalay.
5. Placement – the way words and poetic lines are placed on the page of a poem.
in Just
spring when the world is mud-
luscious the little
lame ballonman

whistles far and wee

6. Capitalization and Punctuation—n poetry, rules of capitalization and punctuation are not
always followed; instead, they are at the service of the poet’s artistic vision.

7. Consistency — is used throughout the poem. An author might start each line with a certain
part of speech, or a repeated line or phrase is used at the same spot in each stanza.

Source: “Elements of Poetry.” lexiconic.net. Accessed August 17, 2020. http://learn.lexiconic.net/

elementsofpoetry.htm?fbclid=IwAR03lTvkAMbQb2RB2MGMs6qMRwdUc
T3GSy7jIf33UvZGFYgJNO7Wkg4NT-4.

7
SELECTION 1 SELECTION 2

MAY MGA TUGTUGING

HINDI KO MALIMOT
Jose Corazon de Jesus
(American Period)

O may mga tugtog na nagsasalita,

malungkot na boses ng nagdaralita;
pasa-bahay ka na ay nagugunita’t
parang naririnig saanman magsadya.

Langitngit ng isang kaluluwang sawi,

panaghoy ng pusong nasa pagkalungi;
laging naririnig sa bawat sandali
ang lungkot ng tugtog na mapawi’y hindi.

Ikaw baga’y daing ng nakaligtaan?

Ikaw baga’y hibik ng pinagtaksilan?
Matutulog ako sa gabing kadimlan
ay umuukilkil hanggang panagimpan.

Oo, mayr’ong tugtog iyang mga b’yoling

tila sumusugat sa ating panimdim;
bawat isang tao’y may lihim na daing,
pinakakatawan sa b’yoling may lagim.

Sa lahat ng gabi sa aking pag-uwi,

kung ako’y hapo na na makitunggali,
ang bawat tugtugi’y kalulwa ng sawi
ako’y dinadalaw sa bawat sandali.

May isang tugtuging hindi ko malimot,

kinakanta-kanta sa sariling loob;
hiniram sa hangin ang lambing at lamyos,
awit ng ligayang natapos sa lungkot.

Source: “Tula: May Mga Tugtuging Hindi Ko

Malimot Ni Jose Corazon De Jesus,” TAGALOG Source: Mobile Textula, 2017, https://
LANG, 2019, https://www.tagaloglang.com/may-mga lewisborja.blogspot.com/2017/09/what-is-
-tugtuging-hindi-ko-malimot/ textula.html?m=1

8
 How alike or different are the two poems? Write down the simi-
LIKELY UNLIKELY larities and differences you noticed about them in the spaces
provided.

May mga Tugutuging

HOW ALIKE?
Makata ng Cellphone
Hindi Ko Malimot

HOW DIFFERENT?

With regard to...

Theme

Figurative Language

Tone

Stanza

Capitalization

Punctuation

9
 ELEMENTS OF FICTION

Forms of Fiction

Flash Fiction — is also called short-short. It is a type of fiction which is under the umbrella of
the short story and is mainly regarded to contain a limited amount of words that runs from 250 to
1,000. Like the usual type of story, the flash fiction still has a protag agonist, antagonist, conflict, and
resolution. Short-shorts are becoming popular to new writers nowadays not just because of its ex-
treme brevity but also of the fact that it can serve as an alternative to long-haul tasks.
Short Stories — are written works that usually run from 2,000 to 6,000 words and is about
eight to 24 pages. This sometimes limits the writer to explore possibilities of developing the charac-
ter, and relationships among the characters, plot, and setting. Writing short story can take time than
reading it, which can be done in one sitting.
Novella — can be considered as the story that plays somewhere between a short story and a
novel. It commonly comprises around 50 to 100 pages and offers a greater avenue for character and
theme development. Novellas are somehow similar to short stories regarding structure but in this
form, the writer can move backward in time to provide a glimpse of the characters past. It is also
common in novellas to have a plot twist, a type of reversal in fortune or event and the like.
Novels — don't need limits regarding length. Some novels have trilogies and tetralogies thus
making novels the ideal form when dealing with stories that involve more char actress, varied plots,
and setup, and has a more open-handed coverage of time. More writers start with their "trial novels"
before attempting to write a full-blown novel. It’s like testing the waters before jumping in and tak-
ing a splash.

Elements of Fiction

1. Characters — are imagined persons who inhabit a story; but characters may also be based
on real people whom the writer uses as models. Characters are not only limited to human beings
though. Some stories have the wind or death as characters.
A. According to Role
Protagonist — is an older and more neutral term than "hero" for the leading character. He or
she is the person with whom readers most closely identify.
Antagonist — is the opponent of the protagonist.
B. According to Significance
Major or Main Characters — are also called lead characters and we think of them as more
complex than the minor characters, the other figures who appear in a story.
Minor Characters — They often play significant roles in the way we understand or interpret
the major characters. They are also pivotal in the changes that major characters undergo.
C. According to Personality
Flat characters — are stock characters or stereotypes who are somehow capable of advancing
the plot, but require only the barest outlines of description.
Round characters — are usually the protagonists. They have more than just one trait. They are
complex and at times complicated. They possess traits that may even seem contradictory. Round
characters seem very real to readers just like our friends, neighbors, family members, and colleagues.
D. According to Circumstance
Static characters — do not experience basic character changes through the course of the story.
Dynamic characters — experience changes throughout the development of the story. A dy-
namic character may undergo sudden changes but these are usually expected based on the events of
the story.

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 2. Setting — is the time and location that a story takes place. When examining how setting
contributes to a story, there are multiple aspects to consider:
a.) Place - Geographical location; where is the action of the story taking place?
b.) Time - Historical period, time of day, year, etc.; when is the story taking place?
c.) Weather conditions - Is it rainy, sunny, stormy, etc.?
d.) Social conditions - What is the daily life of the character's like? Does the story contain lo-
cal color (writing that focuses on the speech, dress, mannerisms, customs, etc. of a particular place)?
e.) Mood or atmosphere - What feeling is created at the beginning of the story? Cheerful or eerie?

3. Conflict — is an event, situation, or circumstance that shakes up a stable situation; it is a

struggle between two opposing forces. It propels the events of the story and raises the issues that
must be resolved.
A. External conflict — arises between the character and an outside force Examples are con-
flict against and the forces of nature, conflict against other characters, and conflict against society.
a.1.) Character against Nature — an external struggle which positions the protagonist against
an animal or force of nature
a.2.) Character against Character —characters against another characters
a.3.) Character against Society —struggles against ideas, practices, customs of others or man-
made institution, such as the family, the Church, Universities, the government and the mass media
a.4.) Character against circumstances—struggles against the situations—limitations, poverty,
accidents, etc. —that they are in
B. Internal conflict— arises within the character himself.
b.1.) Man against Self - a struggle that involves a character trying to overcome his or her own
nature or make a choice between two or more paths.

4. Point of View (POV) — The angle from which the story is told. Who is the person telling
the story? Through POV, the reader follows the story and is introduced to the different environment,
people and situations through the chosen perspective of the author.
First Person — The narrator is a character in the story who can reveal only personal thoughts
and feelings and what he or she sees and is told by other characters. He can’t tell us thoughts of other
characters.
Objective first person—is narrated by a fictional character who plays minor part in the
story or isn't present in the story at all.
Subjective first person—wherein the first person narrator is the main character or one of
the main characters in the story
Second Person — Story told by a narrator who addresses the reader or some other assumed
"you"; speaker uses pronouns "you", "your", and "yours". The author gives the reader a certain level
of experience to be one of the characters in the story. Ex: You wake up to discover that you have
been robbed of all of your worldly possessions.
Third Person—Story told by a narrator who sees all of the action; speaker uses the pronouns
"he", "she", "it", "they", "his", "hers", "its", and "theirs". This person may be a character in the story.
Objective third person — wherein the narration simply describes what the characters do
and say without giving the readers access to their thoughts. It is like a video camera, minds about the
characters feelings, thoughts, and motivations recording and reporting everything it sees but allow-
ing the readers to make up their own
Limited third person— wherein the narration uses third person pronouns, and like the
omniscient, it gets inside the minds of the characters, but the whole story is generally told from the
point of view of only one character
Omniscient third person—wherein the narrator sees, knows, and usually reveals every-
thing about the characters in the story. It is godlike because like an all-powerful all-knowing deity,
the narration can see into the hearts and minds of its characters, revealing their most intimate secrets.

11
 5. Theme — refers to the central idea, the thesis, the message a story conveys, or a generaliza-
tion or an abstraction from it. It is the main idea or underlying meaning of a literary work. A theme
may be stated or implied.

6. Plot or plot structure — is a sequence of events The plot is a planned, logical series of
events having a beginning, middle, and end. Plot structure gives shape to the different parts of a sto-
ry just like the framing of a house or the skeleton of the body.
a. Linear plot—where events are constructed logically and not by coincidence
(Aristotelian plot— beginning, middle and end)

The central moment of crisis in a plot is the climax. It is the point of greatest tension,
where the protagonist confronts and faces the conflict or the problem
CLIMAX

Rising action occurs as complications,

twists, or intensifications of the conflict FALLING ACTION
occur. It is detailing the important ways
in which that deals with the problem. The falling action shows what happens to
the characters after the climax. It is
the logical result of the climax.
RISING ACTION
RESOLUTION/DENOUEMENT
In the exposition, the writer introdu-
ces the characters, situation, and, Resolution/Denouement is the final part of a plot. The French
usually, the time and place of the term denouement refers to the untying of a knot. The denouement
narrative. You can begin a story makes the characters return to a stable situation. It is a moment of
in medias res (in the middle of insight, discovery, or revelation by which a character's life, or view
things). Your exposition signi- of life, is greatly altered. A story's denouement may be closed or
fies that you have chosen a open. A closed denouement ties up everything neatly and explains all
particular opening more than unanswered questions the reader might have just like in many mystery
any other. or detective stories. An open denouement leaves the readers with a few
thought-provoking loose ends. The open denouement is favored by many
contemporary writers who perhaps wish to show that modern life usually
lacks the usual closures of conventional stories
EXPOSITION

b. Episodic plot—in which short events (or episodes) are linked to one another by common
characters, places, or a unified theme but are held apart by their individual plot, purpose and subtext
c. Circular plot—in which characters in the story end up in the same place (or at least similar
place) that they were at the beginning of the story, albeit somehow changed.

Plot techniques:
Backstory—is an exposition that fills in information about the characters past, without explic-
itly going in on it. A backstory is more of a history.
Flashback—a section of the story that is interrupted to tell about an earlier event. Flashback
outlines specific events that happened in the past. A flashback is a like a memory.
Foreshadowing—a hint or clue about an event that will occur later in the story.

Source: “Five Elements of Fiction: Plot, Setting, Character, Point of View, Theme.” rcboe.org. Ac-
cessed August 2020. https://www.rcboe.org/cms/lib010/GA01903614/Centricity/Domain/4395/
Elements%20of%20a%20Story.pdf?fbclid=IwAR3AIn1jKSCwYgPutlgtUd
HTKZjH8KVx5NFohtKSm5FtQ1hyCtsEz1gOH58.

12
SELECTION 3
Death into Manhood
Jose Garcia Villa
(Contemporary Period)
Tona did not realize that when she gave herself up into Doro she was seeing him for the last
time. Doro was young and new to the town and most of the girls wanted hi,. Doro was tall and his
arms were strong and when the girls looked at him they looked with yearning. Doro had gone about
with the other girls but finally he had chosen Tona. Tona became crazy about him.
Shamefacedly Tona made Doro repeat that he loved her. Doro said, “I love you.” tona let doro
go happily although she cried softly.
Tona told her mother that night she was going to marry Doro: “We love each other. Doro and
I are going to get married, inay,” Tona said.
Tona’s mother cried sentimentally.
“It comes in every one’s life,” Tona comforted her.
“I guess. . . it does,” her mother said.
“You will live with us. Doro will not mind.”
“Doro does not make . . . Enough,” her mother said.
“I will wash clothes. We shall try to manage,” Tona said.
Tona’s mother said she would kill the pig she was raising, for the wedding: “It is already a big
pig.”
“It will last us long, the meat,” Tona said.
“Doro will take care of you.”
“Doro will take good care of me.”
But they never saw Doro again. Tona tried hard not to cry but it was useless. Then she told her
mother why she had to marry Doro and her mother beat her.
* * *
Tona’s child was a boy. Tona loved the child and called him Berto. Tona forgot all her hurt
about Doro and became immersed in Berto. Berto became a little god.
Berto grew up to boyhood. Tona worked hard washing clothes for their living. Tona’s mother
had died years before. Berto was eleven now and his demands were growing. Tona sent him to the
public school and every now and then there were contributions to make. Berto needed money to buy
pad paper or notebook or a few centavos to give to the Red Cross. Berto got a pin with a red cross
printed on it in exchange for the few centavos for charity.
Sometimes, when Berto was away, Tona cried. Her body ached with work. In the Philippines,
labor is cruelly cheap. Working people earn very little. A washerwoman earns a cruel fifteen pesos a
month, equivalent to seven and half dollars. If she earned twenty pesos she was very lucky, very
happy.
Tona could have married conveniently. There was a carpenter, Mianong, who wanted her but
she refused him. She was afraid for Berto. Mianong would not have the right feeling for Berto who
was not his child. Then Mianong and she would have other children and the things that should go to
Berto would have to be shared. It was a selfish thought but Tona loved Berto.
* * *
One day, as Christmas approached, Berto asked for long trousers. Tona was taken by surprise.
Berto was asking for long trousers. Tona had not thought of it—that some day Berto would need
long trousers, that some day Berto would grow up.
Tona looked un-understandingly at her son.— “How old are you, Berto?”
Fifteen, inay.”
It took Tona a long time to fully comprehend. Berto was fifteen, had grown up—was getting
beyond boyhood. Tona felt hurt, she could not understand why.
“You will get me long trousers, inay?” Berto, asked.
Tona did not hear. There was an increasing hurt in her.
“You will get me long trousers, inay?” Berto repeated.

13
 “Y-yes,” Tona said. “I will get you long trousers, Berto.”
* * *
Tona came home from market one Sunday and Berto was bathing in the batalan. The batalan
adjoined the little kitchen and the entrance to ti was doorless. When Tona bathed she used to hang a
long piece of cloth across the opening but now the opening was unscreened and Tona saw Berto’s
nude body. Berto was big now. His muscles bulged. Tona, without wanting to, caught the new male-
ness of his body, When Berto saw his mother looking at him he felt greatly embarrassed. Blood rose
to his face. Berto hid himself in a corner. There he continued his bathing so that his mother could not
see him.
Tona realized what that meant. Something was interposing between her and Berto. Tona re-
fused to look Berto’s way again—refused to see Berto’s body which Berto did not want to let her
see—which she used to bathe not long ago. Berto’s body belonged to himself now. Something had
happened to his body and Tona must never see it again. Tona could hear he water splashing on
Berto’s body. It seemed as if Berto were far, far away—as if the water pouring over his body were a
sea separating him and her.
* * *
“What are you doing, Berto?”
Berto stood before a mirror and turned around to face Tona. Berto was nervous and grew pale and
put his hands behind him. A thin line of blood was above his mouth.
“What were you doing, Berto? What have you got in your hands, Berto?”
Berto forced an awkward smile.
“I… I was… shaving, inay”
Tona studied him silently.
“I… I got to shave now. I … I am seventeen now… It doesn’t look good… if one does not
shave… I mean…”
“You’ve got blood on your lip, Berto,” his mother said.
“You… you frightened me, inay. I cut myself.”
“Berto,” Tona called. How hard his name felt on her lips. All the young softness, and tender-
ness, of it seemed to have gone.
“Berto…”
“Yes,” Berto said.
“Do not cut yourself again, Berto.”
* * *
When Berto was eighteen he put on his best clothes one night and told his mother he was going
out to the cine. Berto was dressed in his white drill suit and his head was shiny. He was tall and his
chest was thick. Berto told his mother not to wait up for him. Tona asked him why and Berto said he
might come home late.
Tona said, “You should not come home late.”
“But I am a boy,” Berto said.
“You are going out with some one,” Tona guessed.
“I am taking Maria to the show,” Berto said.
“You are going out with a girl.”
“Yes,” Berto said.
His mother looked at him steadfastly and Berto became uneasy. Berto began to explain. Berto
talked about Maria.Berto said lovely things about Maria. Berto said they wanted to be…together…
“I got to go now- Maria is waiting for me.”
“You better go.”
As Berto descended the bamboo stairs Tona looked apprehensively at her son. Tona fought
hard to grasp the significance of it. There went-Berto-big, tall, young-going out to see a girl…
“Berto is… a man.
Berto is a man.

14
 Berto is a MAN.
She grew suddenly afraid of Berto, suddenly apart from him. A cruel tumult was unleased in
her.
Berto was no longer Berto. Berto was a man. Man… DORO.
She reached nervousy for her shawl and ran impassioned into the night.
She raced to Maria’s house.
Maria’s mother was at the door.
“Where is Maria? Where is Maria, Aling Pipa?”
“She went out with your son, Aling Tona.”
“Poor Maria. Poor Maria,” Tona said wearily, futilely. “Tell her never to go out alone again
with Berto… never to go out alone again with Berto.”

Source: Corazon V. Balarbar, Karina A. Bolasco, and Danton Remoto, Gems in Philippine Literature (Pasig
City, Philippines, Philippines: Anvil Publishing, Inc., 2010)

SELECTION 4
Tagu-taguan
By Blesselle Fiel

Tagu-taguan, maliwanag ang buwan.

Masarap maglaro sa dilim-diliman.
Pagkabilang ko ng tatlo nakatago na kayo.
Isa. Dalawa. Tatlo.

“Bang, Alvin! Bang, Dodong!”

Halong tawa at panghihinayang ang narinig sa magkalaro nang nahuli sila. Paano nga ba sila
hindi mahuhuli e nakatayo lang sila sa likod ni Junjun?
“Sa susunod,” sambit ni Junjun habang umiikot sa paligid ng kalsada, “kung ayaw n’yong ma-
huli agad, magtago kayo nang maayos. Ang dami namang puwedeng mapagtataguan diyan.”
Nakita niyang nakatago sa likod ng isang paso si Princess. Ang itim na buhok nito ay di
matakpan ng berdeng dahon ng tanim. “Bang, Princess!”
Dali-daling tumakbo si Junjun mula sa kaniyang puwesto kanina at hinampas ang pader. Tu-
wang-tuwa siya dahil sa unang pagkakataon nahuli niya silang lahat. Kung puwede nga lang i-
celebrate, gagawin niya. Sa ngayon, nanamnamin na lang ni Junjun ang kaniyang maliit na
tagumpay.
Pasado alas-singko na ng hapon. Kanina pa sila naglalaro sa kalsada sa harap ng kanilang mga
tahanan. Kahit ilang oras na ang nakalipas, hindi nauubusan ng lakas ang mga pawis na pawis na
paslit.
Babalik na sana sila sa kanilang paglalaro nang mapadaan ang tatay ni Junjun. Katulad ng
ibang araw, umuwi na naman itong lasing at may hawak na pulang supot. Dinig na dinig nilang
magkakaibigan ang sigawan mula sa loob. Nagliliparan mula sa dalawang bibig ang mga salitang
nagnakaw, lasing, ayoko na, at kriminal.
Hay. Lagi na lang.
Nanlumo si Junjun. Lagi na lang ganito ang eksena sa loob ng kanilang bahay. Lahat ng kasi-
yahan na dulot ng kanilang paglilibang ay naglahong mistulang bula. Hindi naman lingid sa kaala-
man niya ang pinaggagawa ng kaniyang itay. Ngunit sino nga ba siya upang baguhin ang pamama-
raan nito, ang hanapbuhay nito?
Anak lang naman.
Anak na wala pang pinag-aralan. Anak na walang patutunguhan. Anak na walang kinabu-
kasan.
Mas mabuti na lang na hayaan niya na lamang ito.
Tinapik ni Princess si Junjun sa balikat. “Halika, maglaro na lang tayo ulit. Si Dodong naman

15
ang taya.”
Isang munting ngiti ang naipinta sa mukha ni Junjun. Isang tango at bumalik sa paglalaro ang
mga bata. Nakatabon na ang mga kamay ni Dodong sa kaniyang mga mata, dinig na dinig ang mga
padyak ng anim na maliliit na paa.

Tagu-taguan, maliwanag ang buwan.

Masarap maglaro sa dilim-diliman.
Pagkabilang ko ng tatlo nakatago na kayo.
Isa. Dalawa. Tatlo—

Bang!
Malalim na ang gabi. Pilit na ikinukubli ni Junjun ang kaniyang pautal-utal na paghinga. Sa
isang maliit na eskinita, pilit na itinatago niya ang kaniyang sarili
Dapat hindi nila ako makita, ang sabi niya sa isip niya. Parang awa n’yo na, ayaw kong ma-
kulong.
Pinagsiksikan ni Junjun ang kaniyang katawan sa mga sako ng basura, nagdadasal na sila’y
mapadaan lang at titigil rin sa paghahabol sa kaniya.
Lagi na lang kasi e.
Lagi na lang siyang wanted sa kanilang paningin. Lagi na lang dapat maliksi ang mga kamay
kapag may kinukupit, mabilis ang mga paa kapag hinahabol. Lagi na lang siyang pinagagalitan ng
kaniyang konsensiya at binabangungot sa gabi.
Hindi niya naman ito ginusto. Sadyang ito lang talaga ang buhay na ibinigay sa kaniya. Ang
buhay na hinubog ng kaniyang itay para sa kaniya. Napakarami niyang pangarap sa buhay, ngunit
tila lahat ng ito’y nilipad ng usok ng sigarilyo ng kaniyang ama.
Bakit ganito? Bakit siya pa?
Sabagay, kung tutuusin, hindi lang naman siya ang nalulong sa masamang bisyo. Si Alvin at
Dodong ay nagtutulak na ng droga. Si Princess, ang unica hija ng kanilang pamilya, ay isa nang
Magdalena.
At siya? Mula noon hanggang ngayon, nanatiling naglalaro, nagtatago sa dilim.
Kung puwede nga lang sana bumalik sa nakaraan, bumalik sa liwanag. Hindi naman siguro
magkakaletse-letse ang buhay niya.
Siguro’y nakapag-aral siya—elementarya, hayskul, at kolehiyo, kung kakayanin.
Siguro kung nakapagtapos siya, isa na siyang doktor ngayon.
Siguro—
Bang!
Lagot.
Dali-daling tumakbo si Junjun. Nakabuntot sa kaniya ang mga lalaking naka-uniporme, may
hawak na baril. Kaliwa, kanan, kaliwa, kanan. Kasing tulin ng kabayo sa kalsada. Kabisado niya na
ang pasikot-sikot ng kalye. Siguro naman ay makakatakas siya ngayon, tulad ng dati.
Bang!
Hindi pala.
Bumagsak ang katawan ni Junjun paharap. Naging kulay pula ang kalsada. Unti-unti na si-
yang nawawalan ng malay, at hindi niya alam kung pinaglalaruan siya ng isip niya, pero naririnig
niya ang kantang madalas niyang inaawit no’ng bata pa siya.

Tagu-taguan, maliwanag ang buwan.

Masarap maglaro sa dilim-diliman.
Pagkabilang kong tatlo nakatago na kayo.
Isa. Dalawa. Tatlo.

Source: “Tagu-Taguan by Blesselle Fiel.” Cotabato Literary Journal, December 4, 2017. https://
cotabatoliteraryjournal.com/2017/12/01/tagu-taguan/.

16
 Identify the elements of the story by completing the table
and plot diagrams below. After accomplishing it, study the
SAME BUT DIFFERENT similarities and differences of the two stories according to
their elements and structures.

Death into Manhood Short Story Tagu-taguan

Place: Place:
Time: Setting Time:
Mood: Mood:

Characters

Characteri-
zation

Point of
View

Conflict

Climax: Climax:

Rising Action: Rising Action:

Plot

Falling Action: Falling Action:

Exposition: Exposition:

Denouement: Denouement:

Theme

General
Observation

17
 ELEMENTS OF DRAMA

The elements of drama can be categorized into three major areas namely; literary elements,
technical elements, and the performance elements. It was Aristotle, a Greek philosopher, who first
wrote about the essential elements of drama around 2000 years ago. This became the standard ele-
ments used in modern time.

Literary Elements
1. Plot - is everything that is happening on the play. It is the action and the basic story line of
the story. The plot serves as the skeleton of the story that brings the actions into a cohesive and more
organized form.
2. Theme - refers to the main idea of the play. It is the lesson that the audience will eventually
learn after seeing the play. It is called the soul of the story and mostly involves conflict between in-
dividuals, man and society, man and a superior force, and man and himself,
3. Characters - these are people, and can sometimes be animals or ideas, that are portrayed by
actors in the play.
4. Dialogue - these are storylines that are spoken by the characters in the drama
5. Music/Rhythm - this refers to the sound of the dialogue, musicality, puce, etc. Music and
rhythm help in establishing the mood of the play and builds the impelling force that may lead to a
climax.
6. Spectacle - is the visual elements of the play that may come as costumes, stage display, spe-
cial effects, etc. It is everything that you see while watching the performance.
In modern theater, convention, genre and audience were added to the list. This acknowledges
the fact that these elements greatly affect the play when not given due attention.
Convention - are the different types of methods and techniques used by the director
to create a specific style or effect.
Genre - plays can be categorized into different genres such as tragedy, comedy,
mystery and historical type of play.
Audience - the most crucial part is keeping in mind your target audience. They are the reason
for the creation of such play.

Technical Elements
1. Set/Scenery - technical equipment such as curtains, flats, backdrops, etc.
2. Costumes - clothing and accessories
3. Props - any movable objects that appear on stage. (e.i. telephone, tables, etc.)
4. Lights - choice of light colors, intensity, and placement of lights
5. Sound - the effects that audience hears which provide context, communicate characters, and
establish the environment.
6. Makeup - cosmetics and prosthetics used to enhance/change a person's image

Performance Elements
1. Acting - the use of body, face and voice to portray a certain role or character
2. Character motivation - the force that influences the behavior of the character
3. Character analysis - the process used in evaluating how the elements in drama/play are
used to create impact to the audience
4. Empathy - is how you relate to the experiences of other people

Source: Buhisan, Arnold Jarn Ford G., and Ayesha H. Sayseng. Creative Writing. Pasay City, Philippines: JFS
Publishing Services, 2016.

18
SELECTION 5 NEW YORKER IN TONDO (An Excerpt)
by Marcelino Agana, Jr.
(Post-War Period)

SCENE: The parlor of the Mendoza house in Tondo. Front door is at right. Curtained window is at
left. Left side of stage is occupied by a rattan set –sofa and two chairs flanking a table. On the right
side of the stage, a cabinet radio stands against a back wall. Open door-way in center, background,
leads into the rest of the house.
It is about ten o’clock in the morning. When the curtains rise, someone is knocking at the front
door. Mrs. Mendoza appears at the center doorway, taking off her apron and muttering to herself.
Mrs. Mendoza is a gross, old-fashioned soul who has resigned herself to be modernized by her daugh-
ter. Hence, the stylish house dress, the frilly apron and the modern hairdo, all of which look rather
incongruous on her.

MRS. M: (As she walks toward the door) –Visitors, always visitors. Nothing but visitors all day long.
Naku, I’m beginning to feel like a society matron.
(She opens the door. Tony steps in, carrying a bouquet. Tony is 26, dressed to kill, and is the
suave type. Right now, however, he is feeling a trifle nervous. He startles slightly on seeing Mrs. Men-
doza.)
MRS. M : Tony! I thought you were in the provinces.
TONY : (Startling) –But is that you, Aling Atang?
* * *
MRS. M : (shyly touching her boyish bob) – I had my hair cut. Do I look so horrible?
TONY : Oh, no, no … you look just wonderful, Aling Atang. For a moment I thought you were your
own daughter. I thought you were Kikay.
* * *
MRS. M : (Playfully slapping his cheek) --- Oh, you are as palikero as ever, Tony. But come in, come
in. (She moves toward the furniture and Tony follows.) Here, sit down, Tony.
* * *
TONY : (Beginning to look nervous again) --- When … when did she, Kikay, arrive, Aling Atang?
MRS. M : Last Monday.
TONY : I didn’t know she had come back from New York until I read about it in the newspapers.
* * *
MRS. M : You must not call Kikay, “Kikay.”
She says that in New York, every body calls her Fran-CES-ca.That is how all those Ameri-
cans in New York pronounce her name. And all she wants everybody here to pronounce it in the same
way. She says it sounds so “chi-chi”, so Italian. Do you know that many people in New York thought
she was an Italian…an Italian from California? So be sure and remember; do not call her Kikay, she
hates that name … call her Fran-CES-ca.
TONY : (Limply, sitting down again) --- yes, Mrs. Mendoza.
MRS. M : (Turning to go again) – Now wait right here while I call Fran-CES-ca. (Somebody knocks
at the front door. She turns around again.) Ay, Dios mio!
TONY : (Jumping up once again) – Never mind, Mrs. Mendoza, I’ll answer it. (He goes to open the
door.)
* * *
(Tony opens door and Totoy steps in. Totoy is the same age as Tony and is more clearly a Ton-
do sheik. The one word that could possibly describe his attire is “spooting”. Both boys extend their
arms out wide on beholding each other.)
TOTOY : Tony!
TONY : Totoy! (They pound each other’s bellies.)
* * *

19
TOTOY : (Taking a cigarette) – I thought you were in Bulacan, partner.
TONY : I am. I just came to say hello to Kikay.
* * *
TOTOY : (Fondly) --- Dear old Kikay!
(Knocking at the door. Totoy goes to open it. Enter Nena. Nena is a very well possessed young
lady of 24. )
NENA : Why, it’s Totoy!
TOTOY : (Opening his arms) --- Nena, my own!
NENA : (Brushing him aside as she walks into the room) – and Tony too! What’s all this? A Canto
boy Reunion?
TOTOY : (Following behind her) – We have come to greet the lady from New York.
NENA : So have I. Is she at home?
* * *
(Mrs. Mendoza appears in the doorway, carrying a plate of sandwiches.)
MRS. M : Listen everybody…here comes Kikay…but she prefers to be called Fran-CES-ca.
(She moves away from the doorway and Kikay appears. Kikay is garbed in a trailing gown
trimmed with fur at the neck and hemline. From one hand she dangles a large silk handkerchief which
she keeps waving about as she walks and talks. In the other hand, she carries a very long cigarette
holder with an unlighted cigarette affixed. Kikay’s manner and appearance are …to use a Hollywood
expression …”chi-chi mad.”)
KIKAY : (Having paused a long moment in the doorway, hands uplifted in surprise and delight) –
Oh, hello, hello… you darling, darling people! (She glides into the room. Everybody else is too aston-
ished to move) Nena, my dear…but how cute you’ve become! (She kisses Nena) And Tony, my little
pal of the valley…how are you? (She gives her hand to Tony) and Totoy…my, how ravishing you
look. (She walks all around the apprehensive Totoy) goodness, you look like a Tondo superproduction
in Technicolor! But sit down everybody…do sit down and let me look at you. (Her three visitors sit
down. She sees the tray with the glasses and pitcher on the table and throws her hands up in amused
horror.) Oh, mumsy, mumsy!
MRS. M : What’s the matter now?
KIKAY : How many times must I tell you, mumsy dearest, never, never serve fruit juice in water
glasses!
MRS. M : I couldn’t find those tall glasses you brought home.
KIKAY : (Approaching and kissing her mother) – Oh, my poor li’l mumsy…she is so clumsy, no?
But never mind, dearest; don’t break your heart about it. Here sit down.
* * *
(Kikay poses herself on the arm of the sofa where Nena is sitting and sipping orange juice. The
two boys, also sipping juice and munching sandwiches, occupying the two chairs)
NENA : Tell us about New York.
KIKAY : (Fervently) – Ah, New York, New York!
TONY : How long did you stay there?
KIKAY : (In a trance) – Ten months, four days, seven hours, and twenty-one minutes!
TOTOY : (Aside to the others) – And she’s still there … in her dreams!
KIKAY : (With emotion choking her voice) – Yes, I feel as if I were still there, as though I had never
left it, as though I had lived there all my life. But I look around me (She bitterly looks around her at
the three gaping visitors) and I realize that no, no I’m not there. I’m not in New York… I’m here,
here! (She rises abruptly and goes to window where she stands looking out) I’m home, they tell me.
Home! But which is home for me? This cannot be home.
* * *
NENA : (To others) – I don’t think we ought to be here at all, boys.
TONY : Yes, we shouldn’t disturb her.
NENA : (With a languishing gesture) – And leave her alone with her memories.

20
 (Exit Nena and Totoy)
TONY : There is something I must tell you…something very important.
KIKAY : Oh, Tony, can’t we just forget all about it? That’s the New York way, Tony. Forget. Noth-
ing must ever be so serious, nothing must drag on too long. Tonight, give all your heart. Tomorrow
forget. And when you meet again, smile, shake hands…just good sports.
TONY : Listen, I don’t want to talk about New York…I want to talk about our engagement.
KIKAY : And that’s what we cannot do. Tony…not anymore. Tony, you got engaged to a girl named
Kikay. Well, that girl doesn’t exist anymore…she’s dead. The person you see before you is Francesca.
(Totoy and Nena appear in center doorway.)
TOTOY : What were you two quarrelling about?
KIKAY : We were not quarrelling. Tony and I just decided to be good friends and nothing more.
NENA : Tony, is this true?
TONY : (Shouting) –Yes!
NENA : (Taking Tony’s hand) –Tony and I are engaged. Yes! We’ve been secretly engaged for a
month.
KIKAY : A month! (Fiercely, to Tony) – Why, you…you…
TONY : (Backing off) – I did try to tell you, Kikay…I was trying to tell you…
KIKAY : Just one year that I’m in New York… and what do you do! But when we got engaged, you
swore to be true, you promised to wait for me. And I believed you, I believed you! (She begins to
weep.) Oh, you’re fickle, fickle!
TONY : What are you crying about? Be brave...forget...that’s the New York way, Tony. Forget. Noth-
ing must ever be so serious, nothing must drag on too long...
KIKAY : Oh Tony, please, please… Oh Tony, I’ve been such a fool! I’m so sorry, Tony!
TONY : Well, I’m not! I’m glad I found out what kind of a person you are!
KIKAY : (Alarmed, approaching him) – Oh, Tony, you’re wrong, you’re wrong! I’m not that kind of
a person at all! Yes, Tony…that was Francesca saying all those silly things. But Francesca exists no
more, Tony. The girl standing before you is Kikay.
TONY : That nasty girl. I’m glad she’s dead!
(They have turned on the radio. It’s playing “Again” or some such silly song.)
KIKAY : (Subsiding) – Sorry, darling. (She approaches him.) May I have this “jagging-jagging” with
you, partner?
Source: Francisca B. De la Cruz, Exploring Life Through Filipino Literature (Quezon City, Philip-
pines: Phoenix Publishing House, Inc., 2004)

SELECTION 6
HARAM (An Excerpt)
ni Doren John Bernasol
Tauhan
OMAR 1 – Omar sa entablado. Ang Omar isang taon na ang nakaraan. May katamtamang taas,
makisig ang postura, nakasalamin, at may balabal sa leeg. May kasungitan, malalim ang boses, at
may hinhin ang kilos.
OMAR 2 – Omar sa restawran. Ang kasalukuyang Omar. Nakasalamin pa rin at may balabal sa leeg.
May maliit na pilat sa kaliwang pisngi, nagkabalbas nang kaunti pagkalipas ng isang taon. Mahi-
nahon ang dating pero bigay todo kung tumula.
MACMAC – Mahusay na aktor na matalik na kaibigan ni Omar. Masayahing tao. May pagtingin kay
Jane.
JANE – Isa ring baguhang artista na nakatuluyan ni Macmac. Naging malapit sa dalawang
magkaibigan. Mahinhing dalaga.

Tagpuan
Restawran – Dito kasalukuyang nagpe-perform ng spoken poetry si Omar

21
Entabladong panteatro – Pinapasukan ng tatlong tauhan bilang manunulat at mga artista

Hiwalay sa entabladong may tabing ang isang maliit na entabladong may mikropono. Ito ang
restawrang tanghalan ng spoken poetry. Ang tagapanood ay tila mga tao sa loob ng restawran na
naghihintay ng pagtatanghal. Tahimik at madilim ang silid. Sarado ang tabing. Aakyat si Omar 2 sa
de-mikroponong entablado. Tututukan siya ng medyo maparam na ilaw, at ite-test niya ang mikro-
pono.

OMAR 2: Magtatalumpati ho ako’t hindi tutula. (Ngingiti.) Di tulad ng dati, di tulad noon. Mag-
tatalumpati ako kahit na alam kong giliw na giliw ka sa mga taludtod na hinango mula pa rito.
(Ilalagay ang kamay sa dibdib.) Pero lahat ay wala na. Ayaw ko nang tumula. Ayaw ko nang lumuha.
Ayaw ko nang maniwala. (Yuyuko.)
Paglalahuan ng ilaw si Omar 2.
Bubukas ang tabing sa mas malawak na entablado, kung saan nagsasanay si Omar 1 at Mac-
mac para sa isang dulang itatanghal. May hawak na iskrip si Omar 1 at tinuturuan si Macmac kung
paano ito iarte.
MACMAC: Kailan ba makakamtan ang pangako mong payapang bayan, Jose?
OMAR 1: Konting emosyon pa, ’tol. (Aakbayan si Macmac.) Siguro pagod lang ’yan. Inaantok ka ba?
(Sisigaw sa mga staff) Water break muna!
Aabutan ng tubig ang dalawa. Tatalakayin nila ang tungkol sa audition ng kukuning leading
lady ni Macmac.
* * *
Lalabas si Macmac sa salungat na direksyon.
Magdidilim. Magsasara ang tabing. Mahinang sisingit ang isang tugtog at mawawala rin agad.
Iilaw sa entablado ng restawran.
OMAR 2: Haram. Ito ay salitang Muslim na ang ibig sabihin ay bawal. Pero ang iyong puso ba ay
tatagal? Sa dinami-raming bawal, hangal, puso mo ba ay susugal?
Bawal ang titigan ka lang dahil maraming mga mata.
Bawal ang magtapat dahil alam kong ako’y idudura, ipagwawalang-bahala.
Bawal magmahal, bawal kang akapin, lalong bawal kang isiping.
O para lang itong baso na nakatikim ng halik ng nalasing ay nabuwal. Tulad ng puso ko na nabasag,
naging bubog. Sinubukan kong pulutin. Ako’y nasusog. Ako’y wasak.
Sabay ng paglaho ng ilaw kay Omar 2 ay dagling sisingit ang tugtog. Pagbukas ng tabing ay
titigil rin ito agad.
May isang audition na nagaganap. Si Omar 1 ay makikitang nakadekuwatro at may hawak na
iskrip. Sa gilid niya ay sekretaryang nagbibigay ng panuto sa lahat ng auditionee.
Tatlong babae ang dadaan at wala siyang mapili.
Mapapagod si Omar 1 at hihingi ng break.
SOL: Sir, ano po ba talaga ang hinahanap mo? ’Yong tatlo maganda, matalino, at may talento pa!
OMAR 1: Pero kasi parang kulang sila eh.
Tutugtog ang isang instrumental na love song.
* * *
Papasok si Jane na tila nahihiya.
Magaganap ang audition. Papalakpak si Omar 1 pagkatapos.
OMAR 1: Tapos na! Sol, pauwiin mo na ang iba. May napili na tayo.
Lalabas si Sol at maiiwan si Omar 1 at Jane. Magkakamay sila at maginoong babatiin ni Omar
1 si Jane.
OMAR 1: Sa totoo lang, itong audition namin ay hindi paghahanap ng perpektong babae para sa ba-
kanteng role. Kasi . . . naghintay ako ng tamang babae. Naghintay ako na dumating ka.
Biglang tutugtog at biglang titigil din.
OMAR 1: Ako nga pala si Omar, ang direktor at writer na rin.
Mamatay ang ilaw.

22
 Pagbalik ng ilaw, nasa entablado pa rin sina Omar 1 at Jane, masayang nagkukuwentuhan.
* * *
Makikipagkamay si Macmac kay Jane na tila nabibighani.
MACMAC: Ako nga pala si Macmac, o Andoy sa mga karakter. (Bibitiw sa pakikipagkamay.) Ako
ang kasintahan mo rito—magiging kasintahan mo. (Ngingiti nang malandi.)
JANE: Ha? Kasintahan?
MACMAC: Sa iskrip siyempre. Pero . . . ikaw. He-he.
JANE: Ahh . . . Marunong ka ha. (Matatawa.)
Lalapit si Omar 1 na suplado ang mukha. Aabutan ng iskrip si Jane.
OMAR 1: Oh, ito ’yong papel mo. Madaliin mong kabisaduhin ’yan ha?
JANE: Ikaw ba talaga ang sumulat nito? (Sinusuri ang iskrip)
OMAR 1: Oo. Bakit?
JANE: Ang galing mo naman.
* * *
Sisingit si Macmac sa usapan.
MACMAC: Ahhm, Jane, gusto mo ipraktis na agad natin ’yan?
JANE: O sige. ’Yong may drama agad.
Lalabas ng entablado si Omar 1. Magsasanay ang dalawang artista. Konting lapat ng musika.
Magtatawanan at maghaharutan sila. Maglalaho ang ilaw, at magsasara ang kurtina. Patuloy lang sa
pagtugtog ang musika.
Matutuon ang ilaw sa restawran. Hihinto ang musika.
OMAR 2: Pero pinulot ko pa rin kasi umaasa ako na puwede pang ayusin. Ibalik sana sa dati. Dating
halik, dating tamis, dating lambing, himbing, at dating akin. Pero sa halip na maayos, napuwing pa
ako. Kahit na masakit, nakalimutan kong pumikit. Naluha ako hindi sa sakit ng mata, kirot ng daliri,
kundi sa hapdi ng puso. Nang napuwing ako, nakalimutan kong pumikit.
Babalik ang ilaw sa malapad na entablado. May marahang tugtog ng musika. Pagbukas ng ta-
bing, makikita sa gitna si Jane na nakaluhod at mahigpit na yakap ang binti ni Macmac. Ilang sandali
pa ay binitawan nila ang yapos na iyon. Magkahawak-kamay silang mag-uusap.
***
OMAR 1: Ano ba! Ginagalang ko ang ad lib ninyo, pero pwede bang igalang ni’yo rin ang iskrip ko?
An’daming walang nabigkas na linya oh. Nagmamadali ba kayong maghalikan? Magsabi lang kayo.
Hihilingin ni Macmac kay Jane na umalis muna ito. Lalabas si Jane.
MACMAC: ’Tol, sorry naman oh. Medyo nadala lang ako. Binuhos ko kasi ang emosyon ko para
do’n. Ang . . . ang totoo kasi, ’tol, gusto ko na agad si Jane. OK lang ba sa ’yo?
OMAR 1: (May pagkailang) Oo. Wala namang problema do’n. Una pa lang, halata na kita. Ang akin
lang sana, propesyunal lang tayo rito sa stage.
* * *
Tuwang-tuwa si Macmac. Sabay silang lalabas sa entablado. Magsasara ang tabing at didilim.
Bibigkas ng tula si Omar 2, at unti-unti siyang iilawan.
OMAR 2: Nakalimutan kong pumikit nang magkakilala tayo. Ni kisapmata ay kinalimutan ko.
Nakalimutan kong pumikit nang ako’y unang kinausap mo. Ngingiti-ngiti ako sa pagkukuwento kahit
ano. Kahit magulo.
Nakalimutan kong pumikit nang nagkasundo tayo. Lunok ako nang lunok ng laway para tumino.
Nakalimutan kong pumikit nang isang beses nagtagpo ang ating mga mata na tila nagpapaliwanag ng
ano’ng mayroon ka.
Nakalimutan kong pumikit nang tuluyan akong nahulog sa iyo, nang inakala kong buo itong puso.
Pero bago pa man nahugot ang puso rito sa dibdib, inunahan na ako ng lungkot, at lahat ay pumait...
Biglang dilim. May nangingibabaw na boses na tumutula. Makikita mula sa dahan-dahang pag-
bukas ng kurtina si Omar 1 na nagtuturo ng pagbigkas ng tula kay Macmac para ipagmayabang kay
Jane.
May mahinang tugtog at maliwanag na ilaw kay Macmac.
* * *

23
 Habang binibigkas ni Omar 1 ang tula, nili-lip sync ito ni Macmac sa harap ni Jane sa ka-
bilang sulok ng entablado.
OMAR 1: Paraluman, sa aking paggising
Ngiti mo’y ibinabalik ako sa paghimbing.
Batid mo kaya aking daing?
Habambuhay nawa ika’y kapiling.
* * *
Magpapalakpakan. Tatawagin ang iba pang cast ng dula. Huling tatawagin si Omar 1. Pa-
pagitnaan ng dalawang lalaki si Jane.
Pahihintuin ni Macmac ang lahat at kukunin ang kanilang ng atensiyon.
MACMAC: Nais ko pong ipaalam sa lahat na ako at ang leading lady kong si Jane ay ikakasal na.
Totoo ito at hindi arte lang. Sabik na akong makapiling at maging katuwang siya habambuhay. Imbita-
do ho ang lahat. Direk, ’tol, best man ka ha?
Tatango lamang si Omar 1 at babatiin ang kaibigan. Kinikilig na mag-uusap ang iba pang tao.
Isa-isa silang lalabas hanggang si Omar 1 na lang ang matitira.
* * *
Isasara ang tabing. Balik ang tagpuan sa restawran. Magpapatuloy sa pagtula si Omar 2.
OMAR 2: Tulad ng mga bote ng alak na katabi ko noong gabing ikinakasal kayo—nagkita sa altar,
nagbanggit ng pangako at dasal. An’saya. Parang fairy tale na meant to be. Best wishes.
Walang mag-aakala, walang mag-iisip na may taong sawi, pusong sira. Buti pa nga rito sa entablado,
malaya akong magsabi nito . . .
Mahal kita. Mahal kita . . . Mahal kita, putang ina! Paano ako? Mahal kita, paano ako? Mahal kita,
pero nakikita kong kayo. Mahal kita, pero haram na maging tayo.
Didilim.
* * *
Bubukas ang tabing. Makikita si Jane hawak ang shoulder bag at nagmamadali. Tatawid siya
sa kabilang dulo ng entablado. Nakasunod si Macmac sa kaniya na tila nagdurusa.
Didilim at babalik ang ilaw.
Makikita si Omar 1 na naghihintay kay Jane. Sabik na magyayakapan ang dalawa. Tatanungin
ni Jane si Omar 1 kung bakit matagal itong hindi nagpapakita. Biglang susulpot si Macmac at
susuntukin nang dalawang beses si Omar 1.
MACMAC: ’Tang ina ka! Kaya pala wala ang best man sa kasal namin. Hudas ka, ’pre. Kasal na ka-
mi sisingit ka pa. Sabi mo haram. Sabi mo masaya ka para sa akin. Ba’t ka nagtaksil?
Aakma si Macmac na susuntukin muli si Omar 1, ngunit papagitnaan ni Jane ang dalawa.
OMAR 1: Oo, ’tol. Masaya ako para sa ’yo. Ang suwerte mo kay Jane. Pero mali ka, ’tol. Mali ang
akala ni’yong lahat. Oo, haram. Bawal. Bawal ang magkagusto sa hindi namin karelihiyon. Bawal din
magmahal ng pareho naming kasarian.
’Tol, gago ka. Minahal kita! Kasya ako lumayo, nagparaya. Mahal kita, ’tol. Maliwanag na? Ipag-
tatapat ko sana ito kay Jane bago ako umalis. Mahal kita!
Mahinang tugtog. Babalik ang tagpo sa entablado ng restawran.
OMAR 2: Haram. Ito ay salitang Muslim na ang ibig sabihin ay bawal. Pero ang iyong puso ba ay
tatagal? Sa dinami-raming bawal, hangal, puso mo ba ay susugal? O para lang itong baso na nakatikim
ng halik ng nalasing ay nabuwal? Tulad ng puso ko na nabasag, naging bubog. Sinubukan kong
pulutin. Ako’y nasusog, Ako’y wasak.
Nakalimutan ko mang pumikit, naalala kong ngumiti. Ngumiti akong sa loob ko’y mga bubog na nag-
ing susog na nagpapuwing, nagpaluha.
Pero oo, ang tulang ito ay pagtatapat. Sinadya kong huwag pumikit at maging dilat. Dilat sa katoto-
hanang pangarapin ka lang ay sapat. Katotohanang ang pagmamahal minsan talaga ay sukat. Ito ay
totoo. Aminin nating lahat.

Source: “Haram Ni Doren John Bernasol.” Cotabato Literary Journal, June 30, 2019. https://
cotabatoliteraryjournal.com/2019/07/01/haram/.

24
 Identify what elements are present in the two dramas you have read
DRAMA CHECK by writing a check mark in the box. Provide at least one sentence
answer on how similar or different they are in each element.

How similar or different

Elements New Yorker in Tondo Haram
are the two dramas?

Linear Plot Linear Plot

Episodic Plot Episodic Plot
Circular Plot Circular Plot
Plot
Complete parts Complete parts
Incomplete parts Incomplete parts

Protagonist Protagonist
Antagonist Antagonist
Flat Characters Flat Characters
Characters
Round Characters Round Characters
Static Characters Static Characters
Dynamic Characters Dynamic Characters

Dialogue Storylines Storylines

Music/
Musicality Musicality
Rhythm

Stage Display Stage Display

Special Effects Special Effects
Convention Convention
Genre: Genre:
Spectacle
Tragedy Tragedy
Comedy Comedy
Mystery Mystery
Historical Historical

Stated Stated
Theme
Implied Implied

Set/Scenery Set/Scenery
Costumes Costumes
Technical
Props Props
Elements
Lights Lights
Sound Sound

25
 WHAT I HAVE LEARNED
There’s a trending question on twitter today.
TO A TWEET FRIEND Check it out and write a tweet to answer.

estu_jonTea2020

If you had to explain this lesson to a friend, what would you tell him/her?

Source: Joy Eichmann, Twitter Feed Template, Pinterest, teacherspayteach-

ers.com, 2013. https://www.pinterest.ph/pin/246994360797722664/

WHAT I CAN DO Now that you’ve read the sample selections for this
module, choose one and come up with a slogan to
SLOGAN MAKING share your understanding on its theme.

Guidelines:
• It should start with a verb.
• It can be in written in any language (English, Filipino, Cebuano).
• It must contain 7-10 words including punctuation marks.

Content — 10 Creativity — 10 Originality — 10

26
 ASSESSMENT
Read each statement below and provide the missing
COMPLETE ME letters to complete the words.

1. It is a line or stanza repeated over and over in a poem or song ___ E ___ ___ A___ N
2. It is a type of poetry that does not follow strict rules of meter or rhyme, especially throughout an
entire poem. __ R __ __ ___ E ___S ___
3. They experience changes throughout the development of the story.
___ Y ___ ___ M___ ___ C ___ ___ R ___ ___ ___ E ___ S
4. It is an exposition that fills in information about the characters past, without explicitly going in on
it. ___ A ___ ___S ___ ___R ___
5. These are storylines that are spoken by the characters in the drama. ___ I ___ L ___G ___ ___
6. These are cosmetics and prosthetics used to enhance/change a person's image.
___ ___ K ___U ___
7. It is the visual elements of the play that may come as costumes, stage display, special effects, etc.
___ P ___ C ___ A ___ ___ E
8. It is an event, situation, or circumstance that shakes up a stable situation; it is a struggle between
two opposing forces. ___ ___ N ___ ___ I ___ T
9. Events in the story are constructed logically and not by coincidence. It follows the Aristotelian
plot structure. ___ I ___ E ___R ___ L ___ ___
10. It is a figure of speech in which a word or phrase that refers to a part of something is substituted
to stand in for the whole, or vice versa. S ___ ____ E ___D___ ___ ___ E

Determine whether each statement is a fact or bluff. Write your

FACT OR BLUFF
answers before each number.

1. Both short stories have circular plot.

2. The technique used in the plots of the plays is flashbacking.
3. Literature from the previous periods is no longer relevant today.
4. The written works of the earlier periods are more serious and formal.
5. The plays “New Yorker in Tondo” and “Haram” have only one setting.
6. The main characters of the two short stories are considered static characters.
7. The stories “Death into Manhood” and “Tagu-taguan” both used the omnisci-
ent third person POV.
8. Literature of the earlier generation until today depicts human lives and imparts
moral values to the readers.
9. The style of writing in the 21st century literature is more liberated and does
not follow the traditional structures and forms.
10. “May Mga Tugtuging Hindi Ko Malimot” at “Makata ng Cellphone” have
irregular meter and no definite rhyme scheme.

27
 28
WHAT I KNOW A-MAZE-ING RACE
1. Imagery 3. Dialogue 5. Persona 7. Setting 9. Stanza
2. Protagonist 4. Rhyme 6. Metaphor 8. Theme 10.Tone
WHAT’S IN TARUNGA, TING!
1. C 3. J 5. F 7. A 9. E
2. B 4. D 6. I 8. G 10. H
WHAT ISDA PLOT?
1. H 3. B 5. E 7. D 9. J
2. G 4. C 6. F 8. A 10. I
WHAT’S NEW SPOT THE DIFFERENCE
Picture 1 (Left to right) Picture 2 (Left to right)
Props (trunk of the pine tree) Bird
Stone Twin pine trees
Plot (outsole of the shoe) Fangs of the dog
Collar Tail of the dog
Setting (shaded leaves of the tree) Tone (head of the boy)
Top part of the hydrant Dots in the bush
Conflict (bottom of the hydrant) Monkey climbing the tree
Black mark (right of the hydrant)
WHAT IS IT LIKELY UNLIKELY Answers vary.
SAME BUT DIFFERENT Answers vary.
DRAMA CHECK Answers vary.
WHAT I HAVE LEARNED TO A TWEET FRIEND Answers vary.
WHAT I CAN DO SLOGAN MAKING Answers vary.
ASSESSMENT COMPLETE ME
1. Refrain Characters 6. Makeup 9. Linear Plot
2. Free Verse 4. Backstory 7. Spectacle 10. Synecdoche
3. Dynamic 5. Dialogue 8. Conflict
FACT OR BLUFF
1. Bluff 3. Bluff 5. Bluff 7. Bluff 9. Fact
2. Bluff 4. Fact 6. Bluff 8. Fact 10. Bluff
ANSWER KEYS
 BIBLIOGRAPHY

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“The Basics of Writing : Flashbacks vs Backstory.” Creative Writing Forums - Writing Help, Writ-
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2019. https://www.tagaloglang.com/may-mga-tugtuging-hindi-ko-malimot/.

Images

Eichmann, Joy. Twitter Feed Template. Pinterest. teacherspayteachers.com, 2013. https://

www.pinterest.ph/pin/246994360797722664/.
Katie Rose. Spot the Difference Printable – Black and White. Pinterest. Accessed August 2020.
https://www. pinterest.ph/pin/37084396910919585/.

For inquiries or feedback, please write of call:

Department of Education, Region VII, Division of Cebu Province

Office Address: IPHO Bldg., Sudlon, Lahug, Cebu City

Telefax: (032) 255-6405

E-mail Address: cebu.province@deped.gov.ph

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