Adaptive Teaching Guide Lesson 1

PRIVATE EDUCATION ASSISTANCE COMMITTEE
ADAPTIVE TEACHING GUIDE
Most Essential Topic # 1: Major Genres

Lesson # 1_: Common Themes
PRE-REQUISITE CONTENT-KNOWLEDGE: Understanding Literary Themes

PRE-REQUISITE SKILL: Critical Thinking
PRE-REQUISITE ASSESSMENT:
Review on the general concepts of 21st Century Philippine and Word Literature through a multiple-choice test
Instructions: Read each item carefully. Choose the right letter that corresponds to your answer for each item.
1. This refers to the main idea or underlying meaning a writer explores in a literary work.
A. Theme
B. Characterization
C. Cultural Implication
D. Plot
2. A theme can also be called:
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A. Central idea
B. Plot
C. Main Conflict
D. Moral
3. Which among the following will you NOT consider in finding the theme of a story?
A. What conflict is faced by the main character?

B. What recurring symbolism have you observed while reading the story?
C. What lesson can you take away from the story?
D. Where did the author write the story?
4. Read and analyze the following text. The following lines are excerpt from the Homer’s Iliad, particularly the farewell between Hector and his wife Andromache.
His wife Andromache then makes a tearful speech to Hector, begging him to be more careful and stay behind the battlements mor e often. For with Hector gone
she and her son will be alone in this world:
“But Hector you are father and honored mother and brother to me, as well as my strong husband. Please feel pity for us, stay here on the battlements, so you
do not make an orphan of your child and your wife a widow.”
“Wife, I too have thought upon all this, but with what face should I look upon the Trojans, men or women, if I shirked battle like a cowar d? I cannot do so: I
know nothing save to fight bravely in the forefront of the Trojan host and win renown alike for my father and myself. Well do I know that the day will surely
come when mighty Ilius shall be destroyed with Priam and Priam’s people, but I grieve for none of these - not even for Hecuba, nor King Priam, nor for my
brothers many and brave who may fall in the dust before their foes- for none of these do I grieve as for yourself when the day shall come on which some one of
the Achaeans shall rob you forever of your freedom, and bear you weeping away.”
Question: What line from the excerpt implies pride?
A. “Wife, I too have thought upon all this, but with what face should I look upon the Trojans, men or women, if I shirked battle like a coward? I cannot do so: I
know nothing save to fight bravely in the forefront of the Trojan host and win renown alike for my father and myse lf.”
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B. “But Hector you are father and honored mother and brother to me, as well as my strong husband. Please feel pity for us, stay here on the battlements, so you do not
make an orphan of your child and your wife a widow.”
C. “Well do I know that the day will surely come when mighty Ilius shall be destroyed with Priam and Priam’s people, but I grieve for none of these - not even for
Hecuba, nor King Priam, nor for my brothers many and brave who may fall in the dust before their foes -“
D. “…for none of these do I grieve as for yourself when the day shall come on which some one of the Achaeans shall rob you for ever of your freedom, and bear
you weeping away.”
5. The following is an excerpt from the Odyssey. What important Greek custom is implied the lines?
Telemachus saw Athene and went straight to the forecourt, the heart within him scandalized that a guest should still be standing at the doors. He stood beside her and
took her by the right hand, and relieved her of the bronze spear, and spoke to her and addressed her in winged words: ‘Welcome, stranger. You shall be entertained as
a guest among us. Afterward, when you have tasted dinner, you shall tell us what your need is.’ And he led her and seated her in a chair splendid and elaborate. For her
feet there was a footstool. For himself, he drew painted bench next her, apart from the others, the suitors for fear the guest, made uneasy by the uproar. Might lose his
appetite there among overbearing people.
A. Greeks are highly intelligent people with great sense of humor.

B. Greeks value women by not letting them stand for too long.
C. Greeks are hospitable even among strangers.
D. Greeks like to share their food even to their neighbors.
6. What virtue is implied in the following lines from Miguel de Cervantes Saavedra’s Don Quixote?
“Whoever says that Don Quixote de la Mancha has forgot, or can forget, Dulcinea del Toboso, I will make him know with equal arms that he departs wholly from the
truth; for the peerless Dulcinea del Toboso cannot be forgotten.”
A. Loyalty
B. Compassion
C. Self-control
D. Courage
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7. Read the poem below.
To the Virgins to Make Much of Time

By Robert Herrick (1591-1674)
Gather ye rosebuds while ye may,

Old Time is still a-flying;
And this same flower that smiles today
Tomorrow will be dying.
The glorious lamp of heaven, the sun,

The higher he’s a-getting,
The sooner will his race be run,
And nearer he’s to setting.
That age is best which is the first,

When youth and blood are warmer;
But being spent, the worse, and worst
Times still succeed the former.
Then be not coy, but use your time,

And while ye may, go marry;
For having lost but once your prime,
You may forever tarry.
8. What does the world “prime” in the last stanza refer to?
A. Wealth
B. Youth
C. Privilege
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D. Confidence
9. What is the central message of the poem?

A. Do not get married.
B. Always wear a smile.
C. Seize the day.
D. Be confident.
Read the following poem:
The Road Not Taken

Robert Frost
Two roads diverged in a yellow wood,

And sorry I could not travel both
And be one traveler, 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
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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 traveled by,
And that has made all the difference.
10. What does the diverging roads depict?
A. Life choices
B. Destiny
C. Fate
D. Important events
11. In which situation would the poem be closely related to?
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A. Choosing a course in college
B. Taking care of your parents
C. Passing an exam
D. Building your dream house
PRE-LESSON REMEDIATION ACTIVITY:

1) For Students with Insufficient Level on Prerequisite Content-knowledge and/or Skill(s):
 The teacher will let students familiarize Philippine and World literary texts and authors and Review on common literary themes on literature through a
short discussion or provide supplementary reading materials and video links for students’ review.
2) For Students with Fairly Sufficient Level on Prerequisite Content-knowledge and/or Skill(s):
 Review on common literary themes on literature through a discussion or provide supplementary reading materials and video links for students’ review.
INTRODUCTION:
1. TIME ALLOTMENT: (Two (2) Sessions) TEACHER’S CONTACT INFO: The teacher will provide his/her contact details
2. RUA (OBJECTIVE/The student is expected to gain from learning the topic/lesson)
At the end of the lesson, the learners will:
1. identify and explain literary themes among 21st century samples

2. express awareness on social issues through examining a story’s theme
3. produce a creative presentation of the themes of the given literary texts
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3. Context where the student is going to apply his/learning (In what PAA/EFAA and personal use?)
The learners will use their knowledge on identifying and explaining the theme of the literary piece in completing a graphic organizer to compare and contrast 21st
century literary genres and the ones from the earlier genres/periods citing their elements, structures and traditions for cultural understanding.
4. Overview:
 In this lesson, the students will experience a throwback to Classic Literature and an introduction of its advancement to the 21st Century Literature.
 Students will get to understand their distinct characteristics and appreciate how literary themes evolved over time.
 The teacher will provide texts for reading and analysis for comparison and contrast of themes from a classic literature and 21st century literary text.
STUDENTS’ EXPERIENTIAL LEARNING:

Introduction to 21st Century Literature
Chunk 1: Activate students’ prior knowledge on 21st century literary themes through video trailers.
1) The teacher will present a trailer of the movie adaptation of Love Simon. Afterwards, the teacher will ask the following questions:
Formative Assessment Question 1: What do you think is Simon’s secret?

Formative Assessment Question 2: What do you think was the biggest challenge that Simon would face?
2) The teacher will collate the responses from the previous questions and relate it to the 21st century themes.
Teacher’s Dialogue:
Literature in general is the art of written work, and is not confined to published sources although, under some circumstances, unpublished sources can also be exempted.
Classic works of literature usually share memorable elements and exploration of the human experience with the themes of social and class struggles that tend to express
a universal truth about how humans perceive the world around them. Classical literature is meant to be read multiple times, revealing new depth, and meaning upon each
subsequent reading. A true classic of literary fiction can be read and reread, demonstrating new layers each time. Subsequently, a true classic stands the test of time,
finding modern audiences regardless of the period in which it was originally written and maintains its influence and relevance through centuries because its themes,
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characters, and storytelling are timeless (MasterClass, 2021). Some have become worldwide bestsellers and inspired countless retellings and adaptations in the world of
theater, opera, radio, television, and film.
Input for students:
The rise of millennial and postmodern concepts and the popular or pop culture has paved the way to new ideology and technology-oriented media and has opened social
issues of the new century. Post modernism for example, is marked both by style and principle, “by a reliance on such literary conventions as fragmentation, paradox,
unreliable narrators, often unrealistic and downright impossible plots, games, parody, paranoia, dark humor, and authorial self-reference. It also often rejects the
boundaries between ‘high’ and ‘low’ forms of art and literature as well as the distinction between genre and forms of writing and storytelling” (Sheeba, S.,2017).
Twenty first century was referred to as the beginning of the third millennium. Los Angeles Times (1988) refers to January 1st, of 2001 as the beginning of the 21st
century. However, history would also refer to the late nineties as the beginning of the 21st century. In this subject however, twenty first century literary pieces pertain
to literary pieces published within the new millennium or from 2000 up to the present. This subject or course encompasses the various dimensions, genres, elements,
structures, contexts, and traditions.
The United Nations (UN), as a leading international organization, tagged climate change, democracy, poverty, gender equality, human rights, peace, and security as some
of its long list of global issues of the 21st century. These issues have been reflected on many literary masterpieces that emerged anew to the current century.
Chunk 2: Presentation of literary themes
Formative Assessment Question 3: Do you have any favorite book or movie? What is that book or movie all about, that made you like it?
3) The teacher will interactively present the common 21st century literary themes and its examples.
Teacher dialogue: As we delve deeper into 21st century literature, let us see and explore the most common themes used by writers in 21st Century Literature.
Input for students:

LITERARY THEMES
“A literary theme is the main idea or underlying meaning a writer explores in a novel, short story, or other literary work. The theme of a story can be conveyed using
characters, setting, dialogue, plot, or a combination of all of these elements.” (MasterClass, 2021).
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It also is presented through several means such as: the characters’ feelings, thoughts and conversations; the events and actions of the text. It binds the various elements
of a narrative and is often about the general truths of life across cultures. By analyzing the theme of a certain text, you will be able to gain a deeper sense of understanding
and appreciation of a text.
STRUGGLE FOR IDENTITY OR PURPOSE
Many contemporary novels address identity as a literary theme. Here, protagonists learn that they can decide who they want to be – which sounds fantastic, until they
realize how difficult that decision is. A character may want to exhibit a quality he/she admires, like compassion, physical strength, or honesty, but he/she may find it
challenging to do so. Identity as a theme may be presented as choice, self-acceptance, identity crisis, hiding one’s identity or even a twist in identity (Sara Letourneau,
2017).
The Perks of Being a Wallflower

Stephen Chbosky
Image source: https://www.simonandschuster.com/
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Simon and the Homo Sapiens Agenda

By Becky Albertalli
Image source: newnownext.com
EFFECTS OF WAR, TERRORISM AND OTHER SOCIAL EVILS
The literature of war has existed since the first literary texts were written. Scholars have been quick to acknowledge that war is a dominant force in the works of the
earliest cultures. It is as universal as themes of love or death or time or human frailty. The proliferation of recent scholarship on war serves only to remind readers that
war is still very much a contemporary issue, and that war literature is a popular topic for publication. The literature of war takes a wide variety of approaches in its efforts
to comprehend the war experience and encompasses scholarship on several genres, including poetry, drama, short stories, novels, journals, diaries, oral histories, memoirs,
and letters (Calloway,2017).
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The Kite Runner

Khaled Hosseini
Image source: Image source: https://www.simonandschuster.com/
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One hundred and one nights

Benjamin Buchholz
Image source: goodreads.com
NATURAL OR MAN-MADE CATASTROPHE
Cataclysm, natural or manmade, is one of the most popular themes in fiction. It could mean a violent and large-scale event occurring in the natural world. Central to the
disaster tradition are stories of vast bio spheric changes which drastically affect human life. Tales of universal floods and other motifs, such as plagues, fires, and famines, have
an obvious source in the Bible, also known as the apocalypse, where the adjective "apocalyptic", is derived from. Disaster stories appeal because they represent everything
readers most fear and at the same time, perhaps, secretly desire: a depopulated world, escape from the constraints of a highly organized industrial society, the opportunity to
prove one's ability as a survivor. Perhaps because they represent a punishment meted out for the hubris of technological man. (SFE The encyclopedia of science fiction, 2021).
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Pompeii (2003)
Robert Harris
Image Source: https://www.penguin.com.au/
Bird Box (2014)

Josh Malerman
PERSONALIZED NARRATIVE
Personalized narratives are nonfiction writings that express the experiences of the main characters. Most of the time, these experiences bring out these interesting experiences
of readers: empathy, curiosity, and responsibility. Empathy includes experiences of identification, theory of mind, and social simulation with the characters. Curiosity includes
the experiences of speculating about plot developments, character motivations, and the significance of themes. Responsibility is an experience that narratives have struggled
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to create, with both radically experimental and traditional storytellers working to produce experiences that result in audiences reflecting on their own patterns of thoughts,
actions, and complicity with the actions of others.
I am Malala
Malala Yousafzai
Image source: littlebrown.com
EFFECTS OF TECHNOLOGY
By the beginning of the 20th century, an array of standard science fiction with themes such as negative impacts of technology had developed around certain themes,
among them space travel, robots, alien beings, and time travel. The customary “theatrics” of science fiction include prophetic warnings, utopian aspirations, elaborate
scenarios for entirely imaginary worlds, titanic disasters, strange voyages, and political agitation of many extremist flavors, presented in the form of sermons, meditations,
satires, allegories, and parodies—exhibiting every conceivable attitude toward the process of techno-social change, from cynical despair to cosmic bliss. Science fiction
writers often seek out new scientific and technical developments in order to prognosticate freely the techno-social changes that will shock the readers’ sense of cultural
propriety and expand their consciousness (Sterling, 2022).
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Robocalypse
Daniel H. Wilson
Image source: https://www.penguinrandomhouseaudio.com/
EFFECTS OF CAPITALISM
Capitalism and literature have a very close relationship. It is an economic system in which human beings must undergo a series of events. It deals with social, political,
educational, cultural, and economic changes. None of the literary work will complete without the projection of capitalism. Capitalism is one of the most important aspects of
literature. In literature, capitalism establishes a social and economic contract that makes it possible for individuals to exercise their business. It gives people the ability to be
secure in themselves and their possessions and, having provided security. It also enables people to assume risk that they were previously unwilling to assume. It creates
necessary conditions for people to escape from poverty and generate wealth for themselves and for others poverty, unemployment, oppression, sufferings, and exploitation
(Bhushan Vitthal Tagad, 2013).
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The Hunger Games

Suzanne Collins
The Wolf of Wallstreet
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Jordan Belfort
Image source: Image source: amazon.com
MEMORY AND HISTORY
As contemporary readers can look back on history and see how history has been depicted differently for different audiences, history and memory have become themes in 21st
century literature. Often contemporary literature explores the notion of multiplicities of truth and acknowledges that history is filtered through human perspective and
experience. Contemporary writers often consciously draw inspiration and ideas from the writers who have come before them. As a result, many works of 21st literature
grapple with the events, movements, and literature of the past in order to make sense of the present. Additionally, the technological advancements of the 21st century have
led other writers to hypothetically write about the future, usually to comment on the present and evoke introspection (Walton, A., n.d).
The Hidden Figures (2016)

Margot Lee Shetterly
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THE MOVEMENT OF PEOPLE FROM ONE PLACE TO THE OTHER
Not only does it imply that every writer with a migration background automatically addresses migration in his or her work, but it also suggests that non-migrant, and even
second-generation migrant writers are unable to do so. It embraces all literature written in the age of migration, addresses migration thematically and, in some cases,
stylistically. It can express migration experiences; through its form, the migration novel specifically sets out to express the content of our experiences of interculturalism and
globalization and to resolve the problems posed by the same experiences (Frank, S. 2008).
The Amazing Adventures of Kavalier & Clay

Michael Chabon
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Chunk 3: Process students’ understanding through the following guide questions

4) The teacher will process students’ understanding of the common themes in 21st century literature by asking the following formative questions.
Teacher dialogue: Now that you have a clear picture of the 21st Century common themes, let us examine how these themes mirror our present society.
Formative Assessment Question 4: Which among these themes resemble recent social issues?
Formative Assessment Question 5: How do you think the usage of literary themes can affect your reading experience?
SYNTHESIS:
The following are the key points of the lesson:
● A literary theme is the main idea or underlying meaning a writer explores in a novel, short story, or other literary work.
● 21st Century Literary Themes: Struggle for identity or purpose; effects of war, terrorism and other social evils; a natural or manmade catastrophe; personalized
narrative; effects of technology; effects of capitalism; memory and history; the movement of people from one place to the other
RUA OF STUDENTS’ LEARNING:

The teacher will give the following instructions to the students:
In this lesson, you have encountered the different themes present in the 21st century literary text. With this, you will read the sample literary pieces below. You must
identify the similarities and differences of the 21st century literary theme related to a social issue discussed in each piece. Afterwards, you will discuss the theme of the
literary texts through a creative presentation. The output can be presented through a creative presentation.
TEXT 1: The Masque of the Red Death (1842)

By Edgar Allan Poe
The red death had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar and its seal – the madness and the horror of
blood. There were sharp pains, and sudden dizziness, and then profuse bleeding at the pores, with dissolution. The scarlet stains upon the body and especially upon the face
of the victim, were the pest ban which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress, and termination of the disease,
were incidents of half an hour.
But Prince Prospero was happy and dauntless and sagacious. When his dominions were half depopulated, he summoned to his presence a thousand hale and light-
hearted friends from among the knights and dames of his court, and with these retired to the deep seclusion of one of his crenellated abbeys. This was an extensive and
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magnificent structure, the creation of the prince’s own eccentric yet august taste. A strong and lofty wall girdled it in. This wall had gates of iron. The courtiers, having
entered, brought furnaces and massy hammers and welded the bolts.
They resolved to leave means neither of ingress nor egress to the sudden impulses of despair or of frenzy from within. The abbey was amply provisioned. With such
precautions the courtiers might bid defiance to contagion. The external world could take care of itself. In the meantime it was folly to grieve or to think. The prince had
provided all the appliances of pleasure. There were buffoons, there were improvisatori, there were ballet-dancers, there were musicians, there was Beauty, there was wine. All
these and security were within. Without was the “Red Death.”
It was toward the close of the fifth or sixth month of his seclusion that the Prince Prospero entertained his thousand friends at a masked ball of the most unusual
magnificence.
It was a voluptuous scene, that masquerade. But first let me tell of the rooms in which it was held. There were seven – an imperial suite, In many palaces, however,
such suites form a long and straight vista, while the folding doors slide back nearly to the walls on either hand, so that the view of the whole extant is scarcely impeded. Here
the case was very different; as might have been expected from the duke’s love of the “bizarre.” The apartments were so irregularly disposed that the vision embraced but
little more than one at a time. There was a sharp turn at the right and left, in the middle of each wall, a tall and narrow Gothic window looked out upon a closed corridor of
which pursued the windings of the suite. These windows were of stained glass whose color varied in accordance with the prevailing hue of the decorations of the chamber
into which it opened. That at the eastern extremity was hung, for example, in blue – and vividly blue were its windows. The second chamber was purple in its ornaments and
tapestries, and here the panes were purple. The third was green throughout, and so were the casements. The fourth was furnished and lighted with orange – the fifth with
white – the sixth with violet. The seventh apartment was closely shrouded in black velvet tapestries that hung all over the ceiling and down the walls, falling in heavy folds
upon a carpet of the same material and hue. But in this chamber only, the color of the windows failed to correspond with the decorations. The panes were scarlet – a deep
blood color. Now in no one of any of the seven apartments was there any lamp or candelabrum, amid the profusion of golden ornaments that lay scattered to and fro and
depended from the roof. There was no light of any kind emanating from lamp or candle within the suite of chambers. But in the corridors that followed the suite, there stood,
opposite each window, a heavy tripod, bearing a brazier of fire, that projected its rays through the tinted glass and so glaringly lit the room. And thus were produced a
multitude of gaudy and fantastic appearances. But in the western or back chamber the effect of the fire-light that streamed upon the dark hangings through the blood-tinted
panes was ghastly in the extreme, and produced so wild a look upon the countenances of those who entered, that there were few of the company bold enough to set foot
within its precincts at all.
It was within this apartment, also, that there stood against the western wall, a gigantic clock of ebony. It pendulum swung to and fro with a dull, heavy, monotonous
clang; and when the minute-hand made the circuit of the face, and the hour was to be stricken, there came from the brazen lungs of the clock a sound which was clear and
loud and deep and exceedingly musical, but of so peculiar a note and emphasis that, at each lapse of an hour, the musicians of the orchestra were constrained to pause,
momentarily, in their performance, to hearken to the sound; and thus the waltzers perforce ceased their evolutions; and there was a brief disconcert of the whole gay
company; and while the chimes of the clock yet rang. It was observed that the giddiest grew pale, and the more aged and sedate passed their hands over their brows as if in
confused revery or meditation. But when the echoes had fully ceased, a light laughter at once pervaded the assembly; the musicians looked at each other and smiled as if at
their own nervousness and folly, and made whispering Vows, each to the other, that the next chiming of the clock should produce in them no similar emotion; and then, after
the lapse of sixty minutes (which embrace three thousand and six hundred seconds of Time that flies), there came yet another chiming of the clock, and then were the same
disconcert and tremulousness and meditation as before.
But, in spite of these things, it was a gay and magnificent revel. The tastes of the duke were peculiar. He had a fine eye for color and effects. He disregarded the
“decora” of mere fashion. His plans were bold and fiery, and his conceptions glowed with barbaric lustre. There are some who would have thought him mad. His followers
felt that he was not. It was necessary to hear and see and touch him to be sure he was not.
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He had directed, in great part, the movable embellishments of the seven chambers, upon occasion of this great fete; and it was his own guiding taste which had given
character to the masqueraders. Be sure they were grotesque. There were much glare and glitter and piquancy and phantasm – much of what has been seen in “Hernani.”
There were arabesque figures with unsuited limbs and appointments.
There were delirious fancies such as the madman fashions. There were much of the beautiful, much of the wanton, much of the bizarre, something of the terrible, and
not a little of that which might have excited disgust. To and fro in the seven chambers stalked, in fact, a multitude of dreams. And these the dreams – writhed in and about,
taking hue from the rooms, and causing the wild music of the orchestra to seem as the echo of their steps. And, anon, there strikes the ebony clock which stands in the hall of
the velvet. And then, for a moment, all is still, and all is silent save the voice of the clock. The dreams are stiff-frozen as they stand. But the echoes of the chime die away –
they have endured but an instant – and a light half-subdued laughter floats after them as they depart. And now the music swells, and the dreams live, and writhe to and fro
more merrily than ever, taking hue from the many-tinted windows through which stream the rays of the tripods. But to the chamber which lies most westwardly of the
seven there are now none of the maskers who venture, for the night is waning away; and there flows a ruddier light through the blood-colored panes; and the blackness of
the sable drapery appalls; and to–im whose foot falls on the sable carpet, there comes from the near clock of ebony a muffled peal more solemnly emphatic than any which
reaches their ears who indulge in the more remote gaieties of the other apartments.
But these other apartments were densely crowded, and in them beat feverishly the heart of life. And the revel went whirlingly on, until at length there commenced
the sounding of midnight upon the clock. And then the music ceased, as I have told; and the evolutions of the waltzers were quieted; and there was an uneasy cessation of all
things as before. But now there were twelve strokes to be sounded by the bell of the clock; and thus it happened, perhaps that more of thought crept, with more of time into
the meditations of the thoughtful among those who revelled. And thus too, it happened, that before the last echoes of the last chime had utterly sunk into silence, there were
many individuals in the crowd who had found leisure to become aware of the presence of a masked figure which had arrested the attention of no single individual before. And
the rumor of this new presence having spread itself whisperingly around, there arose at length from the whole company a buzz, or murmur, of horror, and of disgust.
In an assembly of phantasms such as I have painted, it may well be supposed that no ordinary appearance could have excited such sensation. In truth the masquerade
license of the night was nearly unlimited; but the figure in question had out-Heroded Herod, and gone beyond the bounds of even the prince’s indefinite decorum. There are
chords in the hearts of the most reckless which cannot be touched without emotion. Even with the utterly lost, to whom life and death are equally jests, there are matters of
which no jest can be made. The whole company, indeed, seemed now deeply to feel that in the costume and bearing of the stranger neither wit nor propriety existed. The
figure was tall and gaunt, and shrouded from head to foot in the habiliments of the grave. The mask which concealed the visage was made so nearly to resemble the
countenance of a stiffened corpse that the closest scrutiny must have difficulty in detecting the cheat. And yet all this might have been endured, if not approved, by the mad
revellers around. But the mummer had gone so far as to assume the type of the Red Death. His vesture was dabbled in blood – and his broad brow, with all the features of his
face, was besprinkled with the scarlet horror.
When the eyes of Prince Prospero fell on this spectral image (which, with a slow and solemn movement, as if more fully to sustain its role, stalked to and fro among
the waltzers) he was seen to be convulsed, in the first moment with a strong shudder either of terror or distaste; but in the next, his brow reddened with rage.
“Who dares” – he demanded hoarsely of the courtiers who stood near him – “who dares insult us with this blasphemous mockery? Seize him and unmask him – that
we may know whom we have to hang, at sunrise, from the battlements!”
It was in the eastern or blue chamber in which stood Prince Prospero as he uttered these words. They rang throughout the seven rooms loudly and clearly, for the
prince was a bold and robust man, and the music had become hushed at the waving of his hand.
It was in the blue room where stood the prince, with a group of pale courtiers by his side. At first, as he spoke, there was a slight rushing movement of this group in
the direction of the intruder, who, at the moment was also near at hand, and now, with deliberate and stately step, made closer approach to the speaker. But from a certain
nameless awe with which the mad assumptions of the mummer had inspired the whole party, there were found none who put forth a hand to seize him; so that, unimpeded,
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he passed within a yard of the prince’s person; and while the vast assembly, as with one impulse, shrank from the centers of the rooms to the walls, he made his way
uninterruptedly, but with the same solemn and measured step which had distinguished him from the first, through the blue chamber to the purple – to the purple to the
green – through the green to the orange – through this again to the white – and even thence to the violet, ere a decided movement had been made to arrest him. It was then,
however, that the Prince Prospero, maddened with rage and the shame of his own momentary cowardice, rushed hurriedly through the six chambers, while none followed
him on account of a deadly terror that had seized upon all. He bore aloft a drawn dagger, and had approached, in rapid impetuosity, to within three or four feet of the
retreating figure, when the latter, having attained the extremity of the velvet apartment, turned suddenly and confronted his pursuer. There was a sharp cry – and the
dagger dropped gleaming upon the sable carpet, upon which most instantly afterward, fell prostrate in death the Prince Prospero. Then summoning the wild courage of
despair, a throng of the revellers at once threw themselves into the black apartment, and seizing the mummer whose tall figure stood erect and motionless within the shadow
of the ebony clock, gasped in unutterable horror at finding the grave cerements and corpse- like mask, which they handled with so violent a rudeness, untenanted by any
tangible form.
And now was acknowledged the presence of the Red Death. He had come like a thief in the night. And one by one dropped the revellers in the blood-bedewed halls of
their revel, and died each in the despairing posture of his fall. And the life of the ebony clock went out with that of the last of the gay. And the flames of the tripods expired.
And Darkness and Decay and the Red Death held illimitable dominion over all.
Source: https://www.eapoe.org/works/tales/masquec.htm
TEST 2: The Vaccine (2020)

By Jim Bartlett
Still not quite used to the swing shift, after a long stent of graveyards, he steals a quick glance at the clock to check on the time, then buttons up his still untucked shirt and
settles at the PC to have a peek at the news. With the afternoon sun’s rays streaming through a slit in the curtains, or, really, more so carried along by the joyful noise
coming from the backyard, he lets his hopes rise that maybe, just maybe, today there will be a turn in the foul tide that continues to plague the headlines.
But when the page fills, he feels his breath taken, his shoulders slump. Domestic violence on the rise. Another shooting, this time at a crowded church. A child missing has
been found dead, the parent the likely culprit. Warships drift menacingly in the South China Sea. Around the country, new cases of the virus are hitting record highs, forcing
states to return to their previous restrictions. Fights over the need to be wearing masks, with cashiers and clerks feeling the brunt of the frustrations, have become
commonplace. And in many areas, despite the warnings, people gather, setting the stage for a price that will be paid down the road.
With a heavy sigh, he looks to the side, letting the sun warm his face, the sounds from the backyard warm his heart, before turning back.
In another city, in another state, a police officer has taken the life of a young unarmed black male, sparking more demonstrations and adding fuel to the fire of those
23 | P a g e
demanding defunding of policing agencies. Rubbing tired eyes, he leans back. While most answer the call to protect and serve, there are those who have let hate or bias blind
them, leaving heartbreakingly spilt blood to stain each and every officer’s uniform. Including those who have died living up to that sacred oath. With another sigh, he stands
and shuts down the computer.
His wife, hair still wet from her shower, steps in, setting a hand on his shoulder. “Not exactly Emerald City out there, eh?”
Shaking his head, he turns and gives her a kiss on the cheek.
“Have you looked out back?” she asks.
“Not yet. But I’ve been hearing it.” He slides around the counter and pulls the curtains aside. He can’t help but smile as he watches Brandy, their golden retriever, chase
Mandy and Rebecca, their two girls, round and round and round the oak tree, the dog’s bark and the girls’ giggles providing the googled definition of happy.
Of the way things should be.
If only there was a way to bottle up those giggles, that happy bark. That’s the vaccine the world really needs.
With another glance at the clock he tucks in his shirt, slips on his Kevlar vest, and pins on his badge. Giving his wife a kiss, much longer this time, he slips out the door for a
hug from the girls – and dog – before heading off to work.
Source: https://www.fridayflashfiction.com/longer-stories/the-vaccine-by-jim-bartlett
Learning output rubric

4 3 2 1
24 | P a g e
The learner can The learner can The learner can The learner is not
evidently satisfactorily somehow demonstrate able to demonstrate
demonstrate demonstrate understanding of the understanding of
understanding of
understanding the various 21st various 21st century the various 21st
of the various century literary literary themes of the century literary
21st century themes of the given 21st century text themes of the given
literary themes given 21st century and from the earlier 21st century text
of the given 21st text and from the genres/periods by citing and from the earlier
century text and earlier their similarities and genres/periods by
genres/periods
from the earlier by citing their differences. citing their
genres/periods similarities and similarities and
by citing their differences. differences.
similarities and
differences.
Overall Comment/s:
POST LESSON REMEDIATION ACTIVITY
● The teacher will provide a supplementary reading material and remediation activity to help students learn about the topic.
With digital Tools:

Using the links below, the teacher will allow the students to watch the following movie trailers and identify and explain the 21st century theme embedded in the movie based
on the trailer.
CONFESSIONS OF A SHOPAHOLIC MOVIE TRAILER (2008)
25 | P a g e
https://www.youtube.com/watch?v=ZYYCSEV-i1Y
Source: ShopaholicMovie (2008). Confessions of a Shopaholic. Youtube
Heneral Luna Official Trailer (2015)

https://www.youtube.com/watch?v=I_T1ykhy3Fg
Source: Jerrold Tarog. (2015). Heneral Luna. Youtube
Without digital tools:

The teacher will ask the students to answer the following activity.
Instructions: Read the excerpts below. Identify and explain the 21st century literary theme of each excerpt.
1) By the time Vince arrives at the Philippine Airlines departures terminal, it is already bustling with restless souls who, with their balikbayan boxes, have
transformed the terminal into a warehouse, as if they’re returning to the motherland on a cargo ship rather than Asia’s first airline carrier. Comedians use
these durable cardboard boxes as materials for their Filipino-flavored jokes. “How is the balikbayan box like American Express to Filipinos? Because they
never leave home without it.” (R Zamora Linmark, Turban Legend)
Source: https://enhanceyourvocabulary.wordpress.com/novelexcerpts-2/
2) Cronulla Beach by Jose Wendell Capili
In Sydney's Cronulla Beach, more than 5,000 white Australians descended on the sands, attacking anybody who 'looked Middle Eastern or Asian. Revenge followed:
Men of color rampaged through Cronulla with baseball bats, smashing storefronts, windshields.
-early morning news, 12 December 2005
1 Blood surges rapidly

2 along Cronulla Beach.
26 | P a g e
3 Armed with bats,
4 white bodies are mad
5 replications of tents,
6 parasols and sunblinds
7 spreading all over
8 what used to be kurranulla,
9 aboriginal landscapes,
10 the place of pink seashells.
11 There is no chieftain
12 on the shore, no starfish
13 where dominion shatters.
14 Not too far behind,
15 thugs and their hand
16 maids constrict exquisite
17 shades of perplexity
18 to keep generations
19 pure and sterile.
20 Space beneath vestiges
21 of hamlets from long ago
22 have become driftwood,
23 shells, cleavers of melting
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24 pots and succession.
25 They are swaying eerily
26 translucent as postcards
27 bereft of scintillating light
28 in the heated - up weather.
29 So racializing this soap.
Source: https://stem11malvar21stcenlit.blogspot.com/2020/10/cronulla-beach.html
Learning output rubric
4 3 2 1
The learner can The learner can The learner can The learner is not
evidently satisfactorily somehow demonstrate able to demonstrate
demonstrate demonstrate understanding of the understanding of
understanding of
understanding the various 21st various 21st century the various 21st
of the various century literary literary themes of the century literary
21st century themes of the given 21st century text themes of the given
literary themes given 21st century and from the earlier 21st century text
of the given 21st text and from the genres/periods by citing and from the earlier
century text and earlier their similarities and genres/periods by
genres/periods
from the earlier by citing their differences. citing their
genres/periods similarities and similarities and
by citing their differences. differences.
similarities and
differences.
Overall Comment/s
ADAPTIVE TEACHING GUIDE

Most Essential Topic # 1: Literary Genres
28 | P a g e

Adaptive Teaching Guide Lesson 1

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PRIVATE EDUCATION ASSISTANCE COMMITTEE

ADAPTIVE TEACHING GUIDE

Most Essential Topic # 1: Major Genres

PRE-REQUISITE CONTENT-KNOWLEDGE: Understanding Literary Themes

2. A theme can also be called:

A. What conflict is faced by the main character?

Question: What line from the excerpt implies pride?

A. Greeks are highly intelligent people with great sense of humor.

7. Read the poem below.

To the Virgins to Make Much of Time

Gather ye rosebuds while ye may,

The glorious lamp of heaven, the sun,

That age is best which is the first,

Then be not coy, but use your time,

9. What is the central message of the poem?

Read the following poem:

The Road Not Taken

Two roads diverged in a yellow wood,

Then took the other, as just as fair,

Had worn them really about the same,

And both that morning equally lay

I shall be telling this with a sigh

10. What does the diverging roads depict?

11. In which situation would the poem be closely related to?

PRE-LESSON REMEDIATION ACTIVITY:

2. RUA (OBJECTIVE/The student is expected to gain from learning the topic/lesson)

At the end of the lesson, the learners will:

1. identify and explain literary themes among 21st century samples

STUDENTS’ EXPERIENTIAL LEARNING:

Formative Assessment Question 1: What do you think is Simon’s secret?

Input for students:

Chunk 2: Presentation of literary themes

Input for students:

STRUGGLE FOR IDENTITY OR PURPOSE

The Perks of Being a Wallflower

Simon and the Homo Sapiens Agenda

EFFECTS OF WAR, TERRORISM AND OTHER SOCIAL EVILS

The Kite Runner

One hundred and one nights

NATURAL OR MAN-MADE CATASTROPHE

Bird Box (2014)

The Hunger Games

The Wolf of Wallstreet

MEMORY AND HISTORY

The Hidden Figures (2016)

THE MOVEMENT OF PEOPLE FROM ONE PLACE TO THE OTHER

The Amazing Adventures of Kavalier & Clay

Chunk 3: Process students’ understanding through the following guide questions

RUA OF STUDENTS’ LEARNING:

TEXT 1: The Masque of the Red Death (1842)

TEST 2: The Vaccine (2020)

“Have you looked out back?” she asks.

Of the way things should be.

Learning output rubric

POST LESSON REMEDIATION ACTIVITY

With digital Tools:

CONFESSIONS OF A SHOPAHOLIC MOVIE TRAILER (2008)

Heneral Luna Official Trailer (2015)

Without digital tools:

1 Blood surges rapidly

ADAPTIVE TEACHING GUIDE

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