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4th Quarter Grade 7 Supplemental Lesson Plan Lesson 7 Focus: Idiomatic Expressions

Introduction/Preparatory Activities 1. Build background by asking the students, “How many of you have
heard the expression, ‘I’ve got your back?“ What does it mean? Do you literally carry around someone
else’s back?” (Allow time for discussion.) 2. Preview the video and say, “Today, we’re going to listen to a
lesson about idioms and what might happen if people were to interpret them literally.” 3. Show the
following video (https://www.youtube.com/watch?v=YPngxOnjKP0) to the students. 4. Ask the students
the following questions: a. What is an idiom? b. Discuss some common idioms that you or people you
know use regularly. What do you think is the history of those idioms? c. Idioms can be di cult for non-
native speakers to understand and incorporate into their vocabulary and conversations with others. Do
we need them in our language? What are some pros and cons of using idiomatic expressions in our
writing or in our speaking? Body/Developmental Activities 1. Introduce idioms to the class. Discuss the
following points: a. An idiom is a group of words whose literal meaning is di- erent than the actual
meaning of the expression. b. The origins of many idioms can be traced to an event or custom, but the
origin of many idioms is unknown. c. Most languages have their own idioms, and an unfamiliarity with
the language can lead to misunderstandings of intended meanings. Idiomatic Expression Meaning Acid
test Proves the e- ectiveness of something Cut the ground from under feet Do something that weakens
another’s position Chase your tail Spending a lot of time and energy doing a lot of things but actually
achieving too little 4 Whole bag of tricks Trying all the clever means to achieve something Deliver the
goods Do something Fine- tooth comb Examining something carefully so as not to miss any details
Explore all avenues Trying out all possibilities to get results Fast track something Rating something
higher on your priority list to achieve the desired results Get ducks in a row Getting your things well
organized Get the show on the road Putting up a plan or idea into action Keep the ngers on the pulse
Being constantly aware of the most recent developments Mean business Being serious with what you
announced Think on your feet Adjusting quickly to changes and making fast decisions Sail through
something Being successful in something without di culty Tricks of the trade Clever or expert way of
doing things Reference: http://careerride.com/idioms-meaning-and-examples-part-1.aspx
Conclusion/Evaluation Provide the following exercises: Exercise 1 1. The word “idiom” comes from the
Greek word idios, which translates to: a. one’s own b. foolish c. goodbye 2. Idioms are… a. phrases that
only have one meaning. b. phrases that have an understood meaning that is di- erent from what the
words actually mean. c. phrases from ancient Greek times that are still used today. 3. The history of all
idioms can be traced back to Greece and stories from Greek mythology. a. True b. False 5 4. The
Japanese idiom yoko meshi translates to “a sideways meal.” What does it really mean? a. Eating a meal
with a foreigner b. Eating while lying down c. Eating dessert before dinner 5. What would be the best
adjective to describe a person who used many characterization idioms in his/her speech while talking
with a person unfamiliar with the English language? a. adventurous b. cooperative c. thoughtless 6.
Which of the following sentences does NOT contain an idiom? a. “I broke my arm falling from the
trapeze,” she said. b. Before the play, Mary said, “Break a leg.” c. Jack didn’t know how to break the ice
with the new girl. 7. Which of the following statements about idioms is false? a. Most languages have
their own idioms which are luckily very easy to understand. b. The literal meaning of the words in an
idiom is di- erent than the actual meaning of the expression. c. We do not know the origin of many
idioms. 8. When might a Russian person say, “I’m not hanging noodles on your ears”? a. The person has
just nished cooking and is asking for help with the dishes. b. The person is studying really hard for an
upcoming exam. c. The person has just told a story about how he/she was mistaken for a famous movie
star while he/she was at the grocery store. Answers: 1. a 3. b 5. c 7. a 2. b 4. a 6. a 8. c Source:
http://www.thewalkingclassroom.org/downloads/Idioms-Lesson-Plansample.pdf Exercise 2: Let the
students make a comic strip and use idiomatic expressions. 6 Lesson 8 Focus: Determine the Tone,
Mood, Technique, and Purpose of the Author Introduction/Preparatory Activities 1. Build background by
asking the students, “How many of you have ever heard the stories regarding scary creatures?” (Allow
time for discussion.) 2. Read story from the Visayan region about a certain witch.
http://www.seasite.niu.edu/Tagalog/Literature/Short%20Stories/The%20witch. htm 3. Ask the students
to answer the following questions: based on the story. a. Is the story scary for you? b. Which paragraphs
or sentences describe the story as scary? Which paragraphs or sentences describe the story as
otherwise? The Witch by Edilberto K. Tiempo When I was twelve years old, I used to go to Libas, about
nine kilometers from the town, to visit my favorite uncle, Tio Sabelo, the head teacher of the barrio
school there. I like going to Libas because of the many things to eat at my uncle’s house: cane sugar
syrup, candied meat of young coconut, corn and rice cakes, ripe jackfruit, guavas from trees growing
wild on a hill not far from Tio Sabelo’s house. It was through these visits that I heard many strange
stories about Minggay Awok. Awok is the word for witch in southern Leyte. Minggay was known as a
witch even beyond Libas, in ve outlying sitios, and considering that not uncommonly a man’s nearest
neighbor was two or three hills away, her notoriety was wide. Minggay lived in a small, low hut as the
back of the creek separating the barrios of Libas and Sinit-an. It squatted like a soaked hen on a steep
incline and below it, six or seven meters away, two trails forked, one going to Libas and the other to
Mahangin, a mountain sitio. The hut leaned dangerously to the side where the creek water ate away
large chunks of earth during the rainy season. It had two small openings, a small door through which
Minggay probably had to stoop to pass, and a window about two feet square facing the creek. The
window was screened by a frayed jute sacking which uttered eerily even in the daytime. What she had in
the hut nobody seemed to know de nitely. One daring fellow who boasted of having gone inside it when
Minggay was out in her clearing on a hill nearby said he had seen dirty stoppered bottles hanging from
the bamboo slats of the cogon thatch. Some of the bottles contained scorpions, centipedes, beetles,
bumblebees, and other insects; others were lled with ash-colored powder and dark liquids. These
bottles contained the paraphernalia of her witchcraft. Two or three small bottles she always had with
her hanging on her waistband with a bunch of iron keys, whether she went to her clearing or to the
creek to catch shrimps or gather freshwater shells, or even when she slept. 7 It was said that those who
had done her wrong never escaped her vengeance, in the form of festering carbuncles, chronic fevers
that caused withering of the skin, or a certain disease of the nose that eventually ate the nose out. Using
an incantation known only to her, Minggay would take out one insect from a bottle, soak it in colored
liquid or roll it in powder, and with a curse let it go to the body of her victim; the insect might be
removed and the disease cured only rarely through intricate rituals of an expensive tambalan. Thus
Minggay was feared in Libas and the surrounding barrios. There had been attempts to murder her, but
in some mysterious way she always came out unscathed. A man set re to her hut one night, thinking to
burn her with it. The hut quickly burned down, but Minggay was unharmed. On another occasion a man
openly declared that he had killed her, showing the blood-stained bolo with which he had stabbed her; a
week later she was seen hobbling to her clearing. This man believed Minggay was the cause of the rash
that his only child had been carrying for over a year. One day, so the story went, meeting his wife,
Minggay asked to hold her child. She didn’t want to o- end Minggay. As the witch gave the child back she
said, “He has a very smooth skin.” A few days later the boy had skin eruptions all over his body that
never left him. Minggay’s only companions were a lean, barren sow and a few chickens, all of them
charcoal black. The sow and the chickens were allowed to wander in the elds, and even if the sow dug
up sweet potatoes and the chickens pecked rice or corn grain drying in the sun, they were not driven
away by the neighbors because they were afraid to arouse Minggay’s wrath. Besides the sow and the
chickens, Minggay was known to have a wakwak and a sigbin. Those who claimed to have seen the
sigbin described it as a queer animal resembling a kangaroo: the forelegs were shorter than the hind
ones: its fanlike ears made a apping sound when it walked. The wakwak was a nocturnal bird, as big and
black as a crow. It gave out raucous cries when a person in the neighborhood had just died. The bird was
supposed to be Minggay’s messenger, and the sigbin carried her to the grave; then the witch dug up the
corpse and feasted on it. The times when I passed by the hut and saw her lean sow and her black
chickens, I wondered if they transformed themselves into fantastic creatures at night. Even in the
daytime I dreaded the possibility of meeting her; she might accost me on the trail near her hut, say
something about my face or any part of it, and then I might live the rest of my life with a harelip, a
sunken nose, or crossed eyes. But I never saw Minggay in her house or near the premises. There were
times when I thought she was only a legend, a name to frighten children from doing mischief. But then I
almost always saw her sow digging banana roots or wallowing near the trail and the black chickens
scratching for worms or pecking grains in her yard, and the witch became very real indeed. Once I was
told to go to Libas with a bottle of medicine for Tio Sabelo’s sick wife. I started from the town at half
past ve and by the time I saw the balete tree across the creek from Minggay’s hut, I could hardly see the
trail before me. The balete was called Minggay’s tree, for she was known to sit on one of the numerous
twisting vines that formed its grotesque 8 trunk to wait for a belated passer by. The balete was a
towering monstrous shadow; a re y that itted among the vines was an evil eye plucked out searching for
its socket. I wanted to run back, but the medicine had to get to Tio Sabelo’s wife that night. I wanted to
push through the thick underbrush to the dry part of the creek to avoid the balete, but I was afraid of
snakes. I had discarded the idea of a coconut frond torch because the light would catch the attention of
the witch, and when she saw it was only a little boy... Steeling myself, I tried to whistle as I passed in the
shadow of the balete, its overhanging vines like hairy arms ready to hoist and strangle me among the
branches. Emerging into the stony bed of the creek, I saw Minggay’s hut. The screen in the window
waved in the faint light of the room and I thought I saw the witch peering behind it. As I started going up
the trail by the hut, each moving clump and shadow was a crouching old woman. I had heard stories of
Minggay’s attempts to waylay travelers in the dark and suck their blood. Closing my eyes twenty yards
from the hut of the witch, I ran up the hill. A few meters past the hut I stumbled on a low stump. I got up
at once and ran again. When I reached Tio Sabelo’s house, I was very tired and badly shaken. Somehow,
the terror of the balete and the hut of the witch had lessened, although I always had the goose esh
whenever I passed by them after dusk. One moonlight night going home to town I heard a splashing of
the water below Minggay’s house. I thought the sound was made by the witch, for she was seen to
bathe on moonlit nights in the creek, her loose hair falling on her face. It was not Minggay I saw. It was a
huge animal. I was about to run thinking it was the sigbin of the witch, but when I looked at it again, I
saw that it was a carabao wallowing in the creek. One morning, I thought of bringing home shrimps to
my mother, and so I went to a creek a hundred yards from Tio Sabelo’s house. I had with me my cousin’s
pana, made of a long steel rod pointed at one end and cleft at the other and shot through the hollow of
a bamboo joint the size of a nger by means of a rubber band attached to one end of the joint. After
wading for two hours in the creek which meandered around bamboo groves and banban and ipil clumps
with only three small shrimps strung on a coconut midrib dangling from my belt, I came upon an old
woman taking a bath in the shade of a catmon tree. A brown tapis was wound around her to three
ngers width above her thin chest. The bank of her left was a foot-wide ledge of unbroken boulder on
which she had set a wooden basin half full of wet but still unwashed clothes. In front of her was a
submerged stone pile topped by a platter size rock; on it were a heap of shredded coconut meat, a small
discolored tin basin, a few lemon rinds, and bits of pounded gogo bark. The woman was soaking her
sparse gray hair with the gogo suds. She must have seen me coming because she did not look surprised.
Seeing the three small shrimps hanging at my side she said, “You have a poor catch.” She looked kind.
She was probably as old as my grandmother; smaller, for this old woman was two or three inches below
ve feet. Her eyes looked surprisingly young, but her mouth, just a thin line above the little chin, seemed
to have tasted many bitter years. 9 “Why don’t you bait them out of their hiding? Take some of this.”
She gave me a handful of shredded coconut meat whose milk she had squeezed out and with the gogo
suds used on her hair. She exuded a sweet wood fragrance of gogo bark and the rind of lemons.
“Beyond the rst bend,” she said pointing, “the water is still. Scatter the shreds there. That’s where I get
my shrimps. You will see some traps. If you nd shrimps in them, they are yours.” I mumbled my thanks
and waded to the bend she had indicated. That part of the creek was like a small lake. One bank was
lined by huge boulders showing long, deep ssures where the roots of gnarled dapdap trees had
penetrated. The other bank was sandy, with bamboo and catmon trees leaning over, their roots sticking
out in the water. There was good shade and the air had a twilight chilliness. The water was shallow
except on the rocky side, which was deep and murky. I scattered the coconut shreds around, and not
long after they had settled down shrimps crawled from boles under the bamboo and catmon roots and
from crevices of the boulders. It did not take me an hour to catch a midribful, some hairy with age, some
heavy with eggs, moulters, dark magus, leaf-green shrimps, speckled. I saw three traps of woven
bamboo strips, round-bellied and about two feet long, two hidden behind a catmon root. I did not
disturb them because I had enough shrimps for myself. “No, no, iti. Your mother will need them. You
don’t have enough. Besides I have freshwater crabs at home.” She looked up at me with her strange
young eyes and asked, “Do you still have a mother?” I told her I had, and a grandmother, too. “You are
not from Libas, I think. This is the rst time I have seen you.” I said I was from the town and my uncle was
the head teacher of the Libas barrio school. “You remind me of my son when he was your age. He had
bright eyes like you, and his voice was soft like yours. I think you are a good boy.” “Where is your son
now?” “I have not heard from him since he left. He went away when he was seventeen. He left in anger,
because I didn’t want him to marry so young. I don’t know where he went, where he is.” She spread the
length of a kimona on the water for a last rinsing. The esh hanging from her skinny arms was loose and
abby. “If he’s still living,” she went on, “he’d be as old as your father maybe. Many times I feel in my
bones he is alive, and will come back before I die.” “Your husband is still living?” “He died a long time
ago, when my boy was eleven.” She twisted the kimona like a rope to wring out the water. “I’m glad he
died early. He was very cruel.” 10 I looked at her, at the thin mouth, wondering about her husband’s
cruelty, disturbed by the manner she spoke about it. “Do you have other children?” “I wish I had. Then I
wouldn’t be living alone.” A woman her age, I thought, should be a grandmother and live among many
children. “Where do you live?” 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.”
She must have seen the fright that suddenly leaped into my face, for I thought she smiled at me queerly.
“I’m going now,” I said. I felt her following me with her eyes; indeed they seemed to bore a hot hole
between my shoulder blades. I did not look back. Don’t run, I told myself. But at the rst bend of the
creek, when I knew she couldn’t see me, I ran. After a while I stopped, feeling a little foolish. Such a
helpless-looking little old woman couldn’t be Minggay, couldn’t be the witch. I remembered her kind
voice and the wood fragrance. She could be my own grandmother. As I walked, the string of shrimps
kept brushing against the side of my leg. I detached it from my belt and looked at the shrimps. Except
for the three small ones, all of them belonged to the old woman. Her coconut shreds had coaxed them
as by magic out of their hiding. The protruding eyes of the biggest, which was still alive, seemed to glare
at me—and then they became the eyes of the witch. Angrily, I hurled the shrimps back into the creek.
Body/Developmental Activities 1. Introduce the di- erent genres to the class. Discuss the following
points: a. The two main categories separating the di- erent genres of literature are ction and non ction.
2. Types of non ction: a. Narrative non ction is information based on a fact that is presented in a format
which tells a story. b. Essays are short literary compositions that re ect the author’s outlook or point; A
short literary composition on a particular theme or subject, usually in prose and generally analytic,
speculative, or interpretative. c. A biography is a written account of another person’s life. d. An
autobiography gives the history of a person’s life, written or told by that person. e. Speech is the faculty
or power of speaking; oral communication; ability to express one’s thoughts and emotions by speech,
sounds, and gestures; generally delivered in the form of an address or discourse. 11 f. Finally, there is
the general genre of non ction. This informational text deals with an actual real-life subject. This genre
of literature o- ers opinions or conjectures on facts and reality. This includes biographies, history, essays,
speech, and narrative non ction. Non ction opposes ction and is distinguished from those ction genres
of literature like poetry and drama which is the next section we will discuss. 3. Genres of Fiction: a.
Drama is the genre of literature which subject for compositions is dramatic art in the way it is
represented. This genre has stories composed in verse or prose, usually for theatrical performance,
where con icts and emotions are expressed through dialogue and action. b. Poetry is verse and rhythmic
writing with imagery that evokes an emotional response from the reader. The art of poetry is rhythmical
in composition, written or spoken. This genre of literature is for exciting pleasure by beautiful,
imaginative, or elevated thoughts. c. Fantasy is the forming of mental images with strange or other
worldly settings or characters; ction which invites suspension of reality. d. Humor is the faculty of
perceiving what is amusing or comical. Fiction is full of fun, fancy, and excitement and which means to
entertain. This genre of literature can actually be seen and contained within all genres. e. A fable is a
story about supernatural or extraordinary people. It is usually in the form of narration that
demonstrates a useful truth. In Fables, animals often speak as humans that are legendary and
supernatural tales. f. Fairy Tales or wonder tales are a kind of folktale or fable. Sometimes, the stories
are about fairies or other magical creatures, usually for children. g. Science Fiction is a story based on
impact of potential science, either or imagined. Science ction is one of the genres of literature that is set
in the future or on other planets. h. Short Story is ction of such briefness that is not able to support any
subplots. i. Realistic Fiction is a story that can actually happen and is true to real life. j. Folklore are
songs, stories, myths, and proverbs of a person of “folk” that was handed down by word of mouth.
Folklore is a genre of literature that is widely held, but false and based on unsubstantiated beliefs. k.
Historical Fiction is a story with ctional characters and events in a historical setting. l. Horror is an
overwhelming and painful feeling caused by literature that is frightfully shocking, terrifying, or revolting.
Fiction in which events evoke a feeling of dread in both the characters and the reader. 12 m. A tall tale is
a humorous story with blatant exaggerations and swaggering heroes who do the impossible with an
attitude/air of nonchalance. n. Legend is a story or anything of a national or folk hero. Legend is based
on fact but also includes imaginative material. o. Mystery is a genre of ction that deals with the solution
of a crime or the unraveling of secrets or anything that is kept secret or remains unexplained or
unknown. p. Mythology is a type of legend or traditional narrative. This is often based in part on
historical events that reveals human behavior and natural phenomena by its symbolism; often
pertaining to the actions of the gods. A body of myths, as that of a particular people or that relating to a
particular person. q. Fiction in Verse are full-length novels with plot, subplots, themes, with major and
minor characters. Fiction of verse is one of the genres of literature in which the narrative is usually
presented in blank verse form. r. The genre of ction can be de ned as narrative literary works whose
content is produced by the imagination and is not necessarily based on fact. In ction something is
feigned, invented, or imagined; a made-up story. Source: http://genresoiterature.com/ 4. Discuss the de
nition of mood in literature. In literature, mood is a literary element that evokes certain feelings or vibes
in readers through words and descriptions. Usually, mood is referred to as the atmosphere of a literary
piece, as it creates an emotional situation that surrounds the readers. Conclusion/Evaluation: Ask the
students to do the following: Divide the class into ve groups. • Group 1 – Make a poem describing the
story. • Group 2 – Make a poster describing the story. • Group 3 – Make a newscast report describing
the story. • Group 4 – Make a song describing the story. • Group 5 – Make a short skit describing the
story.

4th Quarter Grade 9


Supplemental Lesson Plan
Lesson 1
Introduction/Preparatory Activities
1.
Ask the students to read the by William Carlos Williams (1883–1963).
Poem
As the cat
climbed over
the top of
the jamcloset
rst the right
forefoot
carefully
then the hind
stepped down
into the pit of
the empty
- owerpot
2.
Ask the students how they see the whole poem happening in their minds.
3.
Ask the students the following questions:
a.
Do you think the cat was fast or slow?
b.
Which statement in the poem do you think indicates that?
c.
Why do you think you get the sense of agile movement even if the
poem
does not indicate this?
d.
Do you think this is the Same if you read it if it is arranged as a prose?
As the cat climbed over the top of the jamcloset, rst the right forefoot
carefully then the hind stepped down into the pit of the empty - owerpot.
Body/Developmental Activities
1.
Introduce sensory imagery to the students.
2.
Indicate that sensory imagery is any description that involves one or more of
the
ve senses — touch, sight, taste, smell, and sound.
4
3.
Poetry that is rich in sensory detail helps the reader perfectly envision the
scene
the poet is describing. The cat is agile becomes rich in sensory detail
when
changed to, “ As the cat climbed over the top of the jamcloset, rst the right
fore-
foot carefully then the hind stepped down into the pit of the empty - owerpot.”
Adjectives play a prime role in developing sensory imagery, but some
adjectives
are better than others. Stating that cat is agile or fast helps the reader picture
the
movement, but explaining how the movement occurred by indicating the
step
by step motions can make the image more vivid.
4.
Sensory imagery doesn’t just rely on adjectives. Metaphors can also play a
prime
role. Describing a break-up as creating a sharp, stabbing pain, for example,
helps
the reader better understand the emotions a poet is feeling. Similes are
also
common; a poet might describe her emotions as “like a rolling tide.” Some
poems
that describe emotions or sensations create sensory images. A person
writing
about depression, for example, might talk about being trapped in a dark, silent
cell.
5.
Most good poems use some sensory imagery, but sensory poems are poems
that
are particularly rich in sensory imagery. These poems sometimes take one
scene
or emotion and use a wide variety of sensory images to analyze and explain it.
For
example, a poet might state that anxiety is paralyzing, stabbing, cold, and
prickly.
Source: http://classroom.synonym.com/sensory-imagery-mean-poetry-
1667.html
Conclusion/Evaluation
1.
Individual Activity: Each student can write several sentences about a
particular
topic before he/she drafts his/her poem, and focus solely on evoking
sensory
imagery.
2.
Next, the student shall picture a scene in the poem and describe it using all
ve
senses, in the most vivid language he/she can muster. After the student
developed
the sensory descriptions of the scene or emotion he/she wants to convey,
he/she
can focus on developing a rhythm and rhyme scheme that suits the poem.
3.
Pair Activity: Ask the students to get a partner. The partners should choose
which
poem they make a poster from.
4.
Have them make a poster showing as vividly as possible the subject of the
poem.
5.
Group Activity: Divide the class into ve groups. Choose a group
leader. The
group leader will be the one to pick up which senses the group will
develop a
poem from.
6.
Each group will make a poem based on the sense that they got (seeing,
hearing,
smelling, touching, tasting).
7.
Have them present the poem they made in front of the class.
5
Test:
Describe what sense imagery are the following:
1.
And the yellow half-moon large and low
2.
... the quick sharp scratch...
3.
And a voice less loud, thro’ its joys and fears, than the two hearts beating
each to
each.
4.
Then a mile of warm sea-scented beach...
5.
No food on earth, no wine, not even a woman’s kiss is sweeter to me...
6.
He fumed and charged like an angry bull.
7.
He fell down like an old tree falling down in a storm.
8.
He felt like the - owers were waving him a hello.
9.
The eerie silence was shattered by her scream.
10. He could hear his world crashing down when he heard the news about
her.
11. The F-16 swooped down like an eagle after its prey.
12. The word spread like leaves in a storm.
13. The lake was left shivering by the touch of morning wind.
14. Her face blossomed when she caught a glance of him.
15. He could never escape from the iron grip of desire.
16. He could hear the footsteps of doom nearing.
17. She was like a breath of fresh air infusing life back into him.
18. The pot was a red as a tongue after eating a cherry - avored ring pop.
19. Though I was on the sheer face of a mountain, the feeling of swinging
through
the air was euphoric, almost like - ying without wings.
20. Her blue eyes were as bright as the Sun, blue as the sky, but soft as
silk.
Reference: http://examples.yourdictionary.com/examples-of-imagery.html
6
Lesson 2
Introduction/Preparatory Activities
1.
Ask the students to read the poem “Green Eggs And Ham” by Doctor Seuss.
I am Sam. I am Sam. Sam I am.
That Sam-I-Am! That Sam-I-Am! I Do Not Like That Sam-I-Am!
Do would you like green eggs and ham?
I do not like them, Sam-I-am.
I do not like green eggs and ham.
Would you like them here or there?
I would not like them here or there.
I would not like them anywhere.
I do not like green eggs and ham.
I do not like them, Sam-I-am.
Would you like them in a house?
Would you like then with a mouse?
I do not like them in a house.
I do not like them with a mouse.
I do not like them here or there.
I do not like them anywhere.
I do not like green eggs and ham.
I do not like them, Sam-I-am.
Would you eat them in a box?
Would you eat them with a fox?
Not in a box. Not with a fox.
Not in a house. Not with a mouse.
I would not eat them here or there.
I would not eat them anywhere.
I would not eat green eggs and ham.
I do not like them, Sam-I-am.
Would you? Could you? In a car?
Eat them! Eat them! Here they are.
I would not, could not, in a car.
7
You may like them. You will see.
You may like them in a tree!
I would not, could not in a tree.
Not in a car! You let me be.
I do not like them in a box.
I do not like them with a fox.
I do not like them in a house.
I do not like them with a mouse.
I do not like them here or there.
I do not like them anywhere.
I do not like green eggs and ham.
I do not like them, Sam-I-am.
A train! A train! A train! A train!
Could you, would you on a train?
Not on train! Not in a tree!
Not in a car! Sam! Let me be!
I would not, could not, in a box.
I would not, could not, with a fox.
I will not eat them in a house.
I will not eat them here or there.
I will not eat them anywhere.
I do not eat green eggs and ham.
I do not like them, Sam-I-am.
Say! In the dark? Here in the dark!
Would you, could you, in the dark?
I would not, could not, in the dark.
Would you could you in the rain?
I would not, could not in the rain.
Not in the dark. Not on a train.
Not in a car. Not in a tree.
I do not like them, Sam, you see.
Not in a house. Not in a box.
Not with a mouse. Not with a fox.
I will not eat them here or there.
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I do not like them anywhere!
You do not like green eggs and ham?
I do not like them, Sam-I-am.
Could you, would you, with a goat?
I would not, could not with a goat!
Would you, could you, on a boat?
I could not, would not, on a boat.
I will not, will not, with a goat.
I will not eat them in the rain.
Not in the dark! Not in a tree!
Not in a car! You let me be!
I do not like them in a box.
I do not like them with a fox.
I will not eat them in a house.
I do not like them with a mouse.
I do not like them here or there.
I do not like them anywhere!
I do not like green eggs and ham!
I do not like them, Sam-I-am.
You do not like them. So you say.
Try them! Try them! And you may.
Try them and you may, I say.
Sam! If you let me be,
I will try them. You will see.
(... And he tries them ...)
Say! I like green eggs and ham!
I do! I like them, Sam-I-am!
And I would eat them in a boat.
And I would eat them with a goat...
And I will eat them, in the rain.
And in the dark. And on a train.
And in a car. And in a tree.
They are so good, so good, you see!
So I will eat them in a box.
9
And I will eat them with a fox.
And I will eat them in a house.
And I will eat them with a mouse.
And I will eat them here and there.
Say! I will eat them anywhere!
I do so like green eggs and ham!
Thank you! Thank you, Sam I am.
2.
After reading, give them the printed text of the book, and ask them to work
with
a partner to locate all the modal verbs Seuss uses. Then, have those Same
pairs
think of an activity they might not like to do (like eat green eggs and ham).
Using
Green Eggs and Ham
as a model, the students should write their own silly book
about that activity, complete with illustrations. Once their books are
complete,
have the students read them to the class. Collect the books and make
them
available in your classroom reading center for students to reread during
free
reading time. In addition to talking about modals, this is also a good activity for
reviewing syllables and rhymes in English students how they see the whole
poem
happening in their minds.
Body/Developmental Activities
1.
Introduce modals to the students.
2.
Indicate that a modal is a verb that combines with another verb to
indicate
mood or tense. A modal (also known as a modal auxiliary) expresses
necessity,
uncertainty, ability, or permission.
3.
The following are the more popular modals in the English language:
1) can
Use
Examples
ability to do something in the present
(substitute form: to be able to)
I can speak English.
permission to do something in the present
(substitute form: to be allowed to)
Can I go to the cinema?
request
Can you wait a moment, please?
o er
I can lend you my car till tomorrow.
suggestion
Can we visit Grandma at the weekend?
possibility
It can get very hot in Arizona.
10
2) could
Use
Examples
ability to do something in the past
(substitute form: to be able to)
I could speak English.
permission to do something in the past
(substitute form: to be allowed to)
I could go to the cinema.
polite question*
Could I go to the cinema, please?
polite request*
Could you wait a moment, please?
polite o er*
I could lend you my car till tomorrow.
polite suggestion*
Could we visit Grandma at the weekend?
possibility*
It could get very hot in Montana.
3) may
Use
Examples
possibility
It may rain today.
permission to do something in the present
(substitute form: to be allowed to)
May I go to the cinema?
polite suggestion
May I help you?
4) might
Use
Examples
possibility (less possible than may)*
It might rain today.
hesitant o er*
Might I help you?
5) must
Use
Examples
force, necessity
I must go to the supermarket today.
possibility
You must be tired.
advice, recommendation
You must see the new lm with Brad Pitt.
6)
must not/may not
Use
Examples
prohibition
You mustn’t work on Dad’s computer.
You may not work on dad’s computer.
*no past forms – future forms
11
7) need not
Use
Example
not necessary
I needn’t go to the supermarket, we’re
going to the restaurant tonight.
8)
ought to
Use
Examples
advice
You ought to drive carefully in bad weather.
obligation
You ought to switch o the light when you
leave the room.
9) shall
instead of will in the 1st person
Use
Example
suggestion
Shall I carry your bag?
10) should
Use
Examples
advice
You should drive carefully in bad weather.
obligation
You should switch o the light when you
leave the room.
11) will
Use
Examples
wish, request, demand, order
(less polite than would)
Will you please shut the door?
prediction, assumption
I think it will rain on Friday.
promise
I will stop smoking.
spontaneous decision
Can somebody drive me to the station? - I
will.
habits
She’s strange, she’ll sit for hours without
talking.
12) would
Use
Examples
wish, request (more polite than will)
Would you shut the door, please?
habits in the past
Sometimes he would bring me some
- owers.
Source: http://www.englisch-hilfen.de/en/grammar/hilfsverben2.htm
12
Conclusions/Evaluation:
Ask the students to do the following exercise.
Choose the right modal verb.
1.
There are plenty of tomatoes in the fridge. You __________ buy any.
2.
It’s a hospital. You ____________ smoke.
3.
He had been working for more than 11 hours. He ________ be tired
after such
hard work. He _____ prefer to get some rest.
4.
I ________ speak Cebuano - uently when I was a child and we lived in Cebu.
But
after we moved back to Manila, I had very little exposure to the
language and
forgot almost everything I knew as a child. Now, I ________ just say a few
things
in the language.
5.
The teacher said we ___________ read this book for our own pleasure
as it is
optional. But ________ we read it if we don’t want to.
6.
_____________ you stand on your head for more than a minute? No, I
________ .
7.
If you want to learn to speak English - uently, you _________ to work hard.
8.
Take an umbrella. It __________ rain later.
9.
You __________leave small objects lying around. Such objects
____________ be
swallowed by children.
10. People _____________ walk on grass.
11. Drivers __________ stop when the trac lights are red.
12. ____________ I ask a question? Yes, of course.
13. You ________ take your umbrella. It is not raining.
14. __________ you speak Ilocano? No, I ________.

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