SENIOR HIGH SCHOOL

21st Century Literature from

the Philippines and the World
QUARTER 2 – Module 5
21 Century Literary Genres Elements, Structure
st

and Traditions

https://cutt.ly/ShaR9i8

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 Senior High School
Division of Bohol
Department of Education • Republic of the Philippines

21st Century Literature from the Philippines and the World – Grade 11/12
Alternative Delivery Mode
Quarter 2 – Module 5: 21st Century Literary Genres Elements, Structures and
Traditions

First Edition 2020

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Published by the Department of Education Division of Bohol (for classroom use):

Development Team of the Module

Writers: LAMBUS, REY MARVIN H.

DUNGOG, JOHN CELO M.
LIM, ANNABELLE V.
OLIVAR, NIEZA BLEZELLE S.
ROLLORATA, SCARLET A.
SECUSANA, JASMIN C.
Editors: LAMBUS, REY MARVIN H.
DUNGOG, JOHN CELO M.
ROLLORATA, SCARLET A.
Layout Artist: CAGOL, GOLDA M.
Technical Working Group (TWG): CORSIGA, MARITES B.
Education Program Supervisor (EPS): VILLALON, PABLITO D.

Printed in the Philippines by _____________________________

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Department of Education – Division of Bohol
Office Address: ______________________________________
Telefax: ______________________________________
E-mail Address: ______________________________________

21st Century Literature

from the Philippines and
the World
Quarter 2 – Module 5
21 Century Literary Genres Elements,
st

Structures and Traditions

This learning material was conspired and materialized by the

selected senior high school teachers of Bohol Division who are teaching
the subject and reviewed by the Technical Working Group (TWG) from
the department and quality assured by the Division Office. We fortify
all teachers who are experts in this field and other education
stakeholder to email their feedback, comments, and recommendations
to the Division of Bohol.

We value and appreciate your feedback and recommendations.

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 Division of Bohol

Department of Education • Republic of the Philippines

INTRODUCTORY MESSAGE
World literature, a market that must be sustained as the circulation of
literature, is somehow still experiencing some challenges and debates such as the
considerations to be taken note of when letting a work be included as world literature
and of course, regarding the issue of translation. The challenges on circulation,
however, are not as grave as the recent years. Today in the 21 st century, because of
technology and freedom of expression, as well as our growing need for information, we
continue to accelerate world literature as more and more people contribute to it.

It is essential for the students’ awareness to be raised, as well as their interest

to the social and cultural conditions we have now. It is important for students to be
more socially and culturally conscious of what the world needs to be able to shape
what is in store for the future and with the help of technology, as long as they get to
use it well with the help of education, they may be able to do so.

GENERAL INSTRUCTION

For the learners: For the teacher:

To be guided in achieving the To facilitate and ensure the

objectives of this module, do the
following:
1. Read and follow instructions
carefully.
2. Answer the pretest before going
through the lessons.
3. Take note and record points for
clarification.
4. Compare your answers with the
key answers found at the end of the
module.
5. Do the activities and fully
understand each lesson.
6. Answer the self-check to monitor
what you learned in each lesson.
7. Answer the posttest after you
have gone over all the lessons.
8. Use a separate sheet of paper for
your answers.
students’ learning from this
module, you are encouraged to do
the following:
1. Clearly communicate learning
competencies and objectives
2. Motivate through applications
and connections to real life.
3. Give applications of the theory
4. Discuss worked-out examples
5. Give time for hands-on unguided
classroom work and discovery
6. Use formative assessment to give
feedback
7. Introduce extensions or
generalizations of concepts
8. Engage in reflection questions
9. Encourage analysis through
higher order thinking prompts 4
10. Provide alternative formats for
student work
 Lesson
21st Century Literary Genres
5
Elements, Structure and
Traditions

21st Century Literature of the Philippines

All literary works written and published at the later part of the 21st century
(from 2001 onwards) are often characterized as gender sensitive, technologically
alluding, culturally pluralistic, operate on the extreme reality or extreme fiction, and
question conventions and supposedly absolute norms.

Just as technology advanced in the 21st century, Filipinos have also adapted,
invented, and written some literary innovations far different from before. Philippine
literature, nowadays, deals with current themes on technological culture and traces
artistic representation of shared experiences. These works are characterized as gender
sensitive, technologically alluding, culturally pluralistic, operates on the extreme
reality or extreme fiction, and questions conventions and supposedly absolute norms.
There are a lot of new forms from the basic genres of literature; thus, proving how far
the literature in the Philippines has gone and how far it will go on from here.

WHAT I NEED TO KNOW

Learning Objectives:
1. identify the different literary genres of the 21st century;
2. differentiate the elements, structures and traditions of the various
literary genres.

WHAT I KNOW
Pretest

Directions: Look for the conventional literary genres in the puzzle below. On a
separate sheet of paper, answer the questions that follow.

H Y P E R B O L E T
O P Y D R A M A C E
R O L R C L E A O X
R E O E L O V E V T
O T V A A I M V E F
R R E M I N A E R I
I Y G Y M B R R Y C
R A I N Y D A Y E T
O V E R C O M E L I
N E W O L V E S T O
N O N F I C T I O N

1. What are the four main literary genres have you found in the puzzle?
2. What are their unique features?

WHAT’S IN

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 Recapitulation

In the previous lesson you have learned how to write close analysis and critical
interpretations of literary texts from Africa.

WHAT’S NEW

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Let’s recall the major literary genres!
NON-FICTION- is a writing that is true. It could be creative like a personal essay, or
factual like scientific paper. It may use figurative language but not to the
extent as poetry and fiction used to. Sometimes non-fiction may tell a story
like an autobiography or sometimes it may convey information to readers.
FICTION- is an imaginative or made up writing. It is not real and therefore authors
can use complex figurative language to touch readers’ imagination. It is
more structured, follows proper grammatical pattern, and correct
mechanics. A fictional work may incorporate fantastical and imaginary
ideas from everyday life. It comprises important elements such as plot,
character, point of view and setting. It has three categories these are
realistic, non-realistic and semi-fiction.
DRAMA- is a play or script. It is a form of text that is performed in front of an
audience. Its written text contains dialogues, and stage directions. This
genre categorizes as comedy, tragedy, and tragicomedy.
POETRY- verse and rhythmic writing with imagery. It is a form of text that follows a
meter and rhythm with each line and syllable. It is further subdivided into
different genres such as epic poem, narrative, romantic, dramatic and lyric.
Elements- FOR POETRY- it includes the rhyme scheme (rhyme pattern like
abab,abba), meter(pattern of rhythm), and rhyme(similar word sounds
ex.close-shows, hat-cat),symbolism, imagery (words/lines that pertains to
our senses eg. The aroma of the coffee) and rhythm (stressed and
unstressed)
FOR DRAMA- it includes the setting, character, plot, conflict, point of view
and theme.

Structures- include lines, stanza, and line-breaks for poetry while plot for drama.

Traditions- are the transmissions of customs or beliefs from generation to generation,

or the fact of being passed on this way.

WHAT IS IT
Discussion

What is the definition of literary genre?

Literary genre is a category of literary composition. Genres may be determined

by literary technique, tone, content, or even (as in the case of fiction) length. The

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distinctions between genres and categories are flexible and loosely defined, often with
subgroups. They are defined by the general cultural movement of the historical period
in which they were composed. Genre should not be confused with age categories, by
which literature may be classified as either adult, young-adult, or children's. They also
must not be confused with format, such as graphic novel or picture book.-SHS
Curriculum Guide, 21st Century Literature of the Philippines and the World.

POETRY- comes from the Greek word poiema which is “something made
fashioned – a meaning that applies to both poetry and poems. It is writing in language
chosen and arranged to create a specific emotional effect. Poet refers to a person who
writes or speaks poems.

ELEMENTS OF POETRY
1. Voice- means the speaker of the poem. This is often referred to as persona.
Sometimes, however, the voice in the poem is not that of a person. It can be the
voice of a mountain or a fish or any non-human being or thing. Even inanimate
objects can speak in poetry. Sometimes, it refers to itself as “I” or “me” or, sometimes,
in the third person (she, the, his, her).
2. Diction- refers to the author’s choice and use of words in the poem. To
understand a poem, one must know not only what words mean but also what
they imply or suggest. Both denotation and connotation of words must be
considered. Poets use words that convey feelings and indirectly implies ideas
rather than state them outright.
3. Imagery- refers to the words that are used to describe things in a poem. It is the
element that produces the effect of vividness.
Categories of Imagery
 Visual imagery (what the writer wants you to see)
 Olfactory imagery( what the writer wants you to smell)
 Gustatory imagery( what the writer wants you to taste)
 Tactile imagery (what the writer wants you to feel)
 Auditory imagery( what the writer wants you to hear)
4. Figures of speech- expressions or ways of using words in a nonliteral sense.
5. Symbolism- is any object or action that means more than itself. A heart shape
or the rose are symbols of love. The dove is a symbol of peace or of the Holy
Spirit.
6. Rhyme Scheme- is the way the author arranges words, meters, lines and
stanzas to create a coherent sound when poem is read out loud.
7.Couplet- refers to the two lines of verse that rhyme at the end and are thought
as one unit.
8. Meter- refers to the rhythm that continuously repeats a single basic pattern.
9. Rhythm- is a pattern created with sounds: hard-soft, long-short, bouncy, quiet-
loud, and weak-strong.
10.Stanza- is a set of lines in a poem grouped together and set apart from other
stanzas in the poem either by a double space or by different indentation.
11.Verse- is a line of a poem or a group of lines within a long poem.
12.Tone- is the attitude of the writer towards the subject matter. It can be playful,
sad, excited, regretful, etc. and the tone can change throughout the poem.

DRAMA – refers to fiction or non-fiction stories composed in verse or prose, usually

for theatrical performance, where conflicts and emotion are expressed through
dialogue and action. Most dramas can be classified as comedies or tragedies. Stories
are written in script form

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STORY ELEMENTS:
• Setting- is the “where and when” of a story. It is the time and place during
which the story takes place.

• Characters- refer to the person, animals, and things participating in a story

• Plot- describes the structure of a story. It shows arrangement of events and

actions within a story.
•
Parts of a Plot
 Exposition - introduction; characters, setting and conflict are introduced
 Rising Action- events that occur as result of central conflict
 Climax- highest point of interest or suspense of a story
 Falling Action - tension eases; events show the results of how the main
character begins to resolve the conflict
 Resolution- loose ends are tied up; the conflict is solved


Conflict-

Conflict is the dramatic struggle between two forces in a story.

 Point of View- is the position from which the story is told. It indicates who is
telling the story and how the information is being filtered to the audience.
 Theme- is the central, general message, the main idea, the controlling topic
about life or people the author wants to get across through a literary work

Special Techniques used in a Story

 Suspense – excitement, tension and curiosity
 Foreshadowing – hint or clue about what will happen in story
 Flashback – interrupts the normal sequence of events to tell about something
that happened in the past
 Symbolism – use of specific objects or images to represent ideas
 Surprise Ending - conclusion that reader does not expect

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  Mood – is the feeling that the author tries to convey throughout the story. The
atmosphere or emotional condition created by the piece, within the setting.
 Tone – is the attitude of the author towards the subject and toward the
audience implied in a literary work.

TRADITIONS – are the transmissions of customs or beliefs from generation to

generation, or the fact of being passed on this way.

STRUCTURES- include lines, stanza, and line-breaks for poet while plot for drama.

WHAT YOU WILL DO

Robert Frost- is an American poet who was much admired for his depictions of the
rural life of New England, his command of American colloquial speech, and his
realistic verse portraying ordinary people in everyday situations.

Robert Burns was born in 1759, in Alloway, Scotland, to William and Agnes Brown
Burnes. Like his father, Burns was a tenant farmer. However, toward the end of his
life he became an excise collector in Dumfries, where he died in 1796; throughout his
life he was also a practicing poet. His poetry recorded and celebrated aspects of farm
life, regional experience, traditional culture, class culture and distinctions, and
religious practice. He is considered the national poet of Scotland.

The Road Not Taken A Red, Red Rose

Robert Frost Robert Burns

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveller, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,
And having perhaps the better claim,
Because it was grassy and wanted
wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I-
I took the one less travelled by,
And that has made all the difference.
O my Luve is like a red, red rose
That’s newly sprung in June;
O my Luve is like the melody
That’s sweetly played in tune.
So fair art thou, my bonnie lass,
So deep in luve am I;
And I will luve thee still, my dear,
Till a’ the seas gang dry.
Till a’ the seas gang dry, my dear,
And the rocks melt wi’ the sun;
I will love thee still, my dear,
While the sands o’ life shall run.
And fare thee weel, my only luve!
And fare thee weel awhile!
And I will come again, my luve,
Though it were ten thousand mile.

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Directions: Make a Venn Diagram showing the similarities and differences of the
poems in terms of structure, elements and traditions.

The Road Not Taken

By: Robert Frost A Red, Red Rose
By: Robert Burns

ELEMENTS ELEMENTS

STRUCTURE

ELEMENTS

TRADITION TRADITION

WHAT’S MORE
Enrichment

WHAT
WHAT YOUYOU WILL
WILL DO DO

Arthur Miller is considered as one of the greatest playwrights of the 20th century,
having created some of America's most memorable plays over the course of seven
decades. He is the author of "Death of a Salesman," which won the 1949 Pulitzer Prize
in drama, and "The Crucible." Miller is known for combining social awareness with a
concern for his characters’ inner lives.

William Shakespeare was an English poet, playwright, and actor who was highly
regarded in Victorian England. He is widely regarded as the greatest writer in English
and premiere dramatist who set the ground for many plays to follow the innovations
he did for theatre. His works vary from poems (Shakespearean Sonnets), essays and
plays.

Death of a Salesman Summary

By: Arthur Miller

Willy Loman, a traveling salesman, returns home to Brooklyn early from a sales
trip. At the age of 63, he has lost his salary and is working only on commission, and
on this trip has failed to sell anything. His son Biff, who has been laboring on farms

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and ranches throughout the West for more than a decade, has recently arrived home
to figure out a new direction for his life. Willy thinks Biff has not lived up to his
potential. But as Biff reveals to his younger brother Happy—an assistant to the
assistant buyer at a department store—he feels more fulfilled by outdoor work than by
his earlier attempts to work in an office.
Alone in his kitchen, Willy remembers an earlier return from a business trip,
when Biff and Happy were young boys and looked up to him as a hero. He contrasts
himself and his sons with his next door neighbor Charley, a successful businessman,
and Charley's son Bernard, a serious student. Charley and Bernard, in his view, lack
the natural charisma that the Loman men possess, which Willy believes is the real
determinant of success. But under the questioning of his wife Linda, Willy admits that
his commission from the trip was so small that they will hardly be able to pay all their
bills, and that he is full of self-doubt. Even as Linda reassures him, he hears the
laughter of The Woman, his mistress in Boston.
Charley comes over to see if Willy is okay. While they are playing cards, Willy
begins talking with the recently deceased figure of his brother Ben, who left home at
the age of seventeen and made a diamond fortune in Africa and Alaska. Charley offers
Willy a job but Willy refuses out of pride, even though he has been borrowing money
from Charley every week to cover household expenses. Full of regrets, Willy compares
himself to Ben and their equally adventurous, mysterious father, who abandoned
them when they were young. He wanders into his back yard, trying to see the stars.
Linda discusses Willy's deteriorating mental state with the boys. She reveals
that he has tried to commit suicide, both in a car crash and by inhaling gas through
a rubber hose on the heater. Biff, chagrined, agrees to stay home and try to borrow
money from his previous employer, Bill Oliver, in order to start a sporting goods
business with Happy, which will please their father. Willy is thrilled about this idea,
and gives Biff some conflicting, incoherent advice about how to ask for the loan.

The next morning, at Linda's urging, Willy goes to his boss Howard Wagner and
asks for a job in the New York office, close to home. Though Willy has been with the
company longer than Howard has been alive, Howard refuses Willy's request. Willy
continues to beg Howard, with increasing urgency, until Howard suspends Willy from
work. Willy, humiliated, goes to borrow money from Charley at his office. There he
encounters Bernard, who is now a successful lawyer, while the greatest thing Willy's
son Biff ever achieved was playing high school football.

Biff and Happy have made arrangements to meet Willy for dinner at Frank's
Chop House. Before Willy arrives, Biff confesses to Happy that Oliver gave him the cold
shoulder when he tried to ask for the loan, and he responded by stealing Oliver's pen.
Happy advises him to lie to Willy in order to keep his hope alive. Willy sits down at the
table and immediately confesses that he has been fired, so Biff had better give him
some good news to bring home to Linda. Biff and Willy argue, as distressing memories
from the past overwhelm Willy. Willy staggers to the washroom and recalls the end of
Biff's high school career, when Biff failed a math course and went to Boston in order to
tell his father. He found Willy in a hotel room with The Woman, and became so
disillusioned about his former hero that he abandoned his dreams for college and
following in Willy's footsteps. As Willy is lost in this reverie, Biff and Happy leave the
restaurant with two call girls.

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 When Biff and Happy return home, Linda is furious at them for abandoning
their father. Biff, ashamed of his behavior, finds Willy in the back yard. He is trying to
plant seeds in the middle of the night, and conversing with the ghost of his brother
Ben about a plan to leave his family with $20,000 in life insurance money. Biff
announces that he is finally going to be true to himself, that neither he nor Willy will
ever be great men, and that Willy should accept this and give up his distorted version
of the American Dream. Biff is moved to tears at the end of this argument, which
deepens Willy's resolve to kill himself out of love for his son and family. He drives away
to his death.

Only his family, Charley, and Bernard attend Willy's funeral. Biff is adamant
that Willy died for nothing, while Charley elegizes Willy as a salesman who, by
necessity, had nothing to trade on but his dreams. Linda says goodbye to Willy, telling
him that the house has been paid off—that they are finally free of their obligations—
but now there will be nobody to live in it.

Romeo and Juliet Summary

By: William Shakespeare

In Renaissance-era Verona, Italy, two noble families, the Montagues and

Capulets, are locked in a bitter and ancient feud whose origin no one alive can recall.
After a series of public brawls between both the nobles and the servants of the two
families, which shed blood and disturb the peace in Verona’s city streets, Prince
Escalus, the ruler of Verona, declares that anyone in either family involved in any
future fighting will be put to death.
Every year, the Capulets throw a masquerade ball. The Montagues are, of
course, not invited. As Capulet and Lady Capulet fuss over the arrangements for the
party, ensuring that everything is perfect for their friends and guests, they hope that
their daughter Juliet will fall in love with the handsome count Paris at the ball. At 13,
Juliet is nearly of marriageable age, and the Capulets believe that marrying Paris
would allow their daughter to ascend the social ladder in Verona. During the party,
two Montagues, 16-year-old Romeo and his cousin Benvolio, along with their bawdy,
quick-tongued friend Mercutio, a kinsmen of Prince Escalus, crash the affair. Romeo
attends the party reluctantly, and only because he is hoping to see Rosaline, a young
woman he has been hopelessly in love with—and unsuccessfully pursuing—for quite
some time. His lack of romantic success has made him noticeably forlorn as of late,
much to the chagrin of his friends, who nonetheless poke fun at their lovesick friend’s
melodramatic state. Tybalt, a hot-blooded member of House Capulet, notices the
intrusion of the Montagues and recognizes them in spite of their masks—but when he
draws his rapier and begins approaching them to provoke a fight, Capulet urges Tybalt
not to embarrass their family.
When the masked Romeo spots Juliet from across the room, he instantly falls in love
with her. Juliet is equally smitten. The two of them speak, exchanging suggestive
jokes, and then kiss. As the party ends, Romeo and Juliet, pulled away from one
another to attend to their friends and family, separately discover who the other truly
is. Both are distraught—Juliet laments that her “only love [has] sprung from [her] only
hate.” As the party winds down and Romeo’s friends prepare to leave, Romeo breaks
off from them, jumps an orchard wall, and hides in the dark beneath Juliet’s bedroom
window. She emerges onto her balcony and bemoans her forbidden love for Romeo,
wishing aloud that he could “be some other name.” Romeo jumps out from his hiding
place and tells Juliet that he’d do anything for her—he is determined to be with her in
spite of the obstacles they face. Romeo and Juliet exchange vows of love, and Romeo
promises to call upon Juliet tomorrow so they can hastily be married.

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 The next day, Romeo visits a kindly but philosophical friar, Friar Laurence, in
his chambers. He begs Friar Laurence to marry him to his new love, Juliet. Friar
Laurence urges Romeo to slow down and take his time when it comes to love: “these
violent delights,” he predicts, “have violent ends.” But Romeo insists he and Juliet
know what they’re doing. Friar Laurence comes around, realizing that a marriage
between Romeo and Juliet could end their parents’ age-old feud. Later that day,
Benvolio and Mercutio encounter Tybalt, who is furious that the Montagues crashed
the Capulet party. Tybalt has, in a letter, challenged Romeo to a duel, and Mercutio
and Benvolio are worried about the impulsive Romeo rising to the skilled Tybalt’s
challenge. When Romeo shows up to find Tybalt, Benvolio, and Mercutio exchanging
verbal barbs and teetering on the edge of a fight, Romeo does all he can to resist
dueling with Tybalt. He and Juliet have just hastily visited Friar Laurence’s chambers
together and are now married. Romeo doesn’t want to fight Tybalt, who is now
technically his kinsman—but he knows he can’t reveal the truth to Tybalt, either.
Before Romeo can explain his reasons for hesitating, Mercutio disgustedly steps in and
challenges Tybalt to a duel himself. Romeo tries to separate them, but Tybalt stabs
and kills Mercutio under Romeo's arm. Mercutio dies from his wounds, cursing both
the Montagues and the Capulets and invoking “a plague [on] both houses.” In a
miserable, mournful rage, Romeo kills Tybalt, then declares himself “fortune’s fool.”
Benvolio urges him to hurry from the square. The prince and the citizens’ watch
arrive, along with the elders of House Capulet and House Montague. Benvolio tells
Prince Escalus what has unfolded, and the prince decides to banish Romeo to Mantua
rather than sentence him to death.
Back at the Capulet manse, Juliet dreamily awaits the arrival of Romeo, whom
she believes is hurrying from church so that they can spend their wedding night
together. Juliet’s reveries are shattered with her nurse enters and informs her that
Romeo has slain Tybalt and been banished from Verona. Juliet is furious with Romeo
for killing Tybalt, but at the same time, her love for him is so profound that she admits
she’d rather he lived than Tybalt. Juliet bids her nurse to go find Romeo and bring
him to her, letting him know that she still wants to see him in spite of his actions. The
nurse heads to Friar Laurence’s chambers, where the miserable, embarrassed, and
angry Romeo is hiding. Though Romeo laments his fate to Friar Laurence, the friar
urges Romeo to see that he is lucky to be alive, and promises to find a way to bring
him back to Verona from exile in Mantua soon enough. The nurse arrives and
summons Romeo to Juliet’s chambers—he happily follows her, and Friar Laurence
urges Romeo to head straight to Mantua in the morning and await word from a
messenger.
The death of Tybalt affects Capulet deeply. He decides to marry Juliet to Paris
immediately, to cheer both Juliet and himself up. Juliet and Romeo bid each another
farewell as the dawn breaks the next morning, and though Juliet says she has a
terrible feeling she’ll never see Romeo again, she urges him to hurry on to Mantua.
Lady Capulet enters Juliet’s chambers just after Romeo leaves to find her daughter
weeping. Believing Juliet is still sad over Tybalt’s death, Lady Capulet delivers the
news that Juliet will soon be married to Paris. Juliet refuses, and Lady Capulet urges
Juliet to tell her father of her decision. Capulet enters, and, when Juliet stubbornly
and angrily refutes the arrangement he’s made for her, Capulet threatens to disown
her. Lady Capulet sides with her husband, and even the nurse advises Juliet to marry
Paris and forget Romeo.
Juliet rushes to Friar Laurence in a rage, threatening to kill herself if he cannot devise
a plan to get her out of the marriage to Paris. Friar Laurence, sensing Juliet’s deep
pain, quickly comes up with a scheme: he gives her a vial of potion that, once drunk,
will make it seem like she's dead—but will really only put her to sleep for about 40
hours. Juliet will be laid to rest in the Capulet tomb, and once she wakes up there,
Friar Laurence will collect her and hide her until Romeo returns from Mantua. The
friar promises to get news of the plan to Romeo so that he can hurry back home. Juliet

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takes the vial and returns home with it. Though she is afraid the potion might either
kill her or not work at all, Juliet drinks it and immediately falls unconscious. The next
morning the Capulet household wakes to discover that Juliet has seemingly died. As
Capulet and Lady Capulet dramatically mourn their daughter’s loss, Friar Laurence
chides them for their tears—in life, he says, they sought Juliet’s social “promotion.”
Now that she is in heaven, she has received the highest promotion of all.
In Mantua, Romeo’s servant Balthasar approaches and tells him that Juliet has
died. Romeo is devastated—he plans to “deny [the] stars” and return to Verona. Before
leaving Mantua, however, he visits the shop of a local apothecary who sells
forbidden poisons. If Juliet really is dead, Romeo plans to drink the vial of poison and
kill himself inside her tomb. Back in Verona, Friar Laurence learns that his brother in
the cloth, Friar John, has failed to deliver the letter about Juliet’s feigned “death” to
Romeo—Romeo has no idea that Juliet is really alive. Friar Laurence hurries to the
Capulet crypt to try to head off any calamity. At the gravesite, however, trouble is
brewing: Paris has arrived with his page, intending to scatter flowers around Juliet’s
tomb. Romeo and Balthasar approach, and Paris hides to see who has come to the
crypt. Romeo takes up some tools and begins to break open the Capulet tomb. The
astonished, offended Paris steps forward to stop him. The two duel, and Romeo kills
Paris. Romeo succeeds in opening Juliet’s tomb, and brings Paris’s corpse down into it
with him.
As Romeo looks upon Juliet, he notes that her cheeks and lips still seem
flushed with blood—but, believing she is dead, resolves to drink the poison after a
final kiss. Romeo drinks the vial and dies. Friar Laurence arrives to find a terrible
scene before him. Juliet wakes, and Friar Laurence urges her to follow him without
looking at the bodies. As sounds of the citizens’ watch approach, however, Friar
Laurence flees, begging Juliet to follow him so he can install her in a nunnery.
Instead, Juliet stays behind with Romeo’s corpse. Seeing the poison in his hand, she
tries to drink a drop from his lips, but Romeo has left none for her. Instead, she pulls
Romeo’s dagger from his hip and uses it to kill herself. Several watchmen arrive and
bring Friar Laurence, Balthasar, Prince Escalus, and Paris’s page to the crypt to
investigate what has happened. As the truth unravels, the elders of House Montague
and Capulet arrive. Prince Escalus tells them that their hatred has killed their
children. “All,” the prince says, “are punished.” The Capulets and Montagues agree to
end their feud and erect statues of each other’s children in the town square.

Directions: Read the following short stories and differentiate them according to its
elements, structures, and traditions. Use a separate sheet of paper for your answer.

Compare and Contrast

Title of the Drama Elements Structures Traditions

(5) (5pts) (5pts)
Romeo and Juliet

The Death of a
Salesman

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 WHAT I HAVE LEARNED
Generalization

Directions: How does the presence of having elements, structure and tradition help
you understand a literary genre? Write your answers in two bullets. Use a separate
sheet of paper for your answers.




WHAT I CAN DO
Application

Directions: Cite at least 5 common elements/techniques found in poems and

dramas. Use a separate sheet of paper for your answer.

ELEMENTS/TECHNIQUES
POEMS (5) DRAMA(5)

ASSESSMENT
Posttest

Directions: Read and answer the statements that follow. Use a separate sheet of
paper for your answer.
1. These are the 4 main literary genres except one. Which of the given choices
does not belong to the group?
a. poetry c. drama
b. poems d. fiction/nonfiction
2. Which of the following is not a theme in the drama Romeo and Juliet?
a. Individual versus Society c. Loss of identity
b. Love as a Cause of Violence d. Inevitability of fate
3. He was much admired for his depictions of the rural life of New England, his
command of American colloquial speech, and his realistic verse portraying
ordinary people in everyday situations.
a. Robert Frost c. Robert Burns
b. William Shakespeare d. Arthur Miller

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4. He is known for combining social awareness with a concern for his characters’
inner lives. Is considered one of the greatest playwrights of the 20th century,
having created some of America's most memorable plays over the course of
seven decades.
a. Robert Frost c. Robert Burns
b. William Shakespeare d. Arthur Miller
5. He was an English poet, playwright, and actor who was highly regarded in Victorian
England. He is widely regarded as the greatest writer in English and premiere dramatist
who set the ground for many plays to follow the innovations he did for theatre.
a. Robert Frost c. Robert Burns
b. William Shakespeare d. Arthur Miller
6. His poetry recorded and celebrated aspects of farm life, regional experience, traditional
culture, class culture and distinctions, and religious practice. He is considered the
national poet of Scotland. 
a. Robert Frost c. Robert Burns
b. William Shakespeare d. Arthur Miller
7. This poem comprises uncertainty and perplexing situation of the minds of people about
what they may face when standing on the verge of making choices. It is because life is
full of choices, and the choices we make, define the whole course of our lives.
a. The Road Not Taken c. Fire and Ice
b. I Wandered Lonely as a Cloud d. A Red, Red Rose
8. A poem about deep love for his or her beloved and promises that this love will last
longer than human life and even the planet itself, remaining fresh and constant forever.
a. The Road Not Taken c. Fire and Ice
b. I Wandered Lonely as a Cloud d. A Red, Red Rose
9. A drama about a man's inability to accept change within himself and society.
a. Romeo and Juliet c. Tell-Tale Heart
b. Death of a Salesman d. Hamlet
10. This is a category of literary composition, it may be determined by literary technique,
tone, content, or even (as in the case of fiction) length.
a. literary genres c. literary techniques
b. literature d. literary devices

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ANSWER KEY

WHAT I KNOW
1. Drama, Poetry, Non-fiction, Fiction
2. Non-fiction- writing that is true. Fiction- imaginative or made up writing.
Drama- a play or script. Poetry- verse and rhythmic writing with imagery

WHAT WILL YOU DO

The Road Not Taken

Traditions/Themes
-The poem comprises uncertainty and perplexing situation of the minds of people
about what they may face when standing on the verge of making choices. It is because
life is full of choices, and the choices we make, define the whole course of our lives.
Similarly, the narrator faces a situation during his travel. He finds two roads at a point
where he has to choose one and must abide by his choice. He thinks he may come
back one day to travel on the other road. However, he also has a feeling that his choice
will confront him with new adventures and challenges. Though there is some regret
over his choice, yet he realizes that the things he has encountered and the places he
has visited, because of this path, have made all the difference in his life.

Structure
- Lines, stanza, line-breaks

Elements
1. Rhyme Scheme (ABAAB)
2. Figures of Speech (metaphor, simile, personification, assonance, consonance)
3. Imagery
4. Stanza (5 lined)
5. Meter (Iambic tetrameter- 4 beat meter)
6. Tone- nostalgia
7. Diction
8. Symbolism-two roads that diverge symbolize life's many choices

A Red,Red Rose
Traditions/Themes
- Speaker’s deep love for his or her beloved and promises that this love will last
longer than human life and even the planet itself, remaining fresh and constant
forever.
Structure
- Lines, stanza, line-breaks

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 Elements
1. Rhyme Scheme (ABCB)
2. Figures of Speech (hyperbole, simile, personification, assonance, consonance)
3. Imagery
4. Stanza (4 stanza with 4 lines)
5. Meter (3 iambs per line/four iambic feet per line)
6. Tone- true love
7. Diction
8. Symbolism-rose: love

WHAT’S MORE
Title of the
Drama Elements Structures Traditions
(5) 5pts) (5pts)
Romeo and Juliet Plot, Conflict, Answers may Love as a Cause of
Characters, Setting, vary Violence, The forceful
Theme, Point of view, of Love, Individual
Mood, Tone, versus Society, and
Foreshadowing, Inevitability of fate.
Symbolism, Surprise
Ending, Script
The Death of a Plot, Conflict, Answers may Loss of identity and a
Salesman Characters, Setting, vary man's inability to
Theme, Point of view, accept change within
Mood, Tone, himself and society.
Foreshadowing,
Symbolism, Surprise
Ending, Script

WHAT I CAN DO (answers are found in the discussion part)

ASSESSMENT
1. b 6. c
2. c 7. a
3. a 8. d
4. d 9. b
5. b 10. A

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REFERENCES
Hidalgo, Cristina Pantoja. Travels with Tania. Manila: University of Santo Tomas
Publishing, 2009.
Chua, Rina G. (2016) 21st Century Literature from the Philippines and the World. Makati
City: DIWA Learning Systems Inc. page 229.
1
https://21stcenturylitph.wordpress.com/introduction-to-world-literature/

https://www.litcharts.com/lit/death-of-a-salesman/summary
https://literarydevices.net/genre/)
http://www.homeofbob.com/literature/genre/poetry/elements.html
https://www.britannica.com/biography/Robert-Frost
https://www.poetryfoundation.org/poets/robert-burns

https://www.thoughtco.com/arthur-miller-2713623
https://www.litcharts.com/lit/death-of-a-salesman/summary

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