0 2 4

C IÓ N2
E D I

Temario
LENGUA EXTRANJERA
INGLÉS

15
Épocas, autores y géneros literarios
más adecuados para su aplicación didáctica
en clase de inglés.
Tipologías de textos.

12-12025-13
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INDEX

INTRODUCTION

1 TALES AND STORIES

1.1 CHARACTERISTICS AND FUNCTIONS
1.2 THE EARLY DAYS OF CHILDREN’S TALES
1.3 TRADITIONAL TALES (17TH-19TH CENTURIES)
1.4 MODERN TALES (END OF 19TH CENTURY- BEGINNING OF 20TH)
1.5 MODERN DAY (FAIRY) TALES (20TH-21ST CENTURY)
1.6 CHILDREN’S NOVELS
1.7 A SELECTION OF STORYBOOKS FOR CHILDREN

2 OTHER GENRES
2.1 NURSERY RHYMES
2.2 RIDDLES AND LIMERICKS

3 TYPOLOGY OF TEXTS
3.1 CLASSIFICATION OF TEXTS
3.2 CRITERIA FOR SELECTING LITERARY TEXTS

4 DIDACTIC APPLICATION OF LITERARY TEXTS

4.1 HOW TO USE STORIES IN FLT
4.2 STORYTELLING TECHNIQUES
4.3 HOW TO MAKE THE MOST OF RHYMES,
RIDDLES AND LIMERICKS
4.4 EXTENSIVE READING

CONCLUSION

BIBLIOGRAPHY

REMEMBER
 LENGUA EXTRANJERA: INGLÉS 5
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INTRODUCTION
One of the functions of language is the poetic function. This means that it can be used
for aesthetic reasons, for the sheer enjoyment of language. But reading or listening to
literary texts isn’t just a pleasurable activity, it’s also a communicative activity in which
attitudes, values and socio-cultural aspects are transmitted.
Our current educational system is based on a methodological approach, called
Communicative Language Teaching or Communicative Approach. This approach
considers language as a vehicle of communication - the final objective is for the learner to
achieve communicative competence.
Material such as stories, poems and rhymes are valuable teaching aids that will help our
students attain this communicative principle. They offer the teacher opportunities to
encourage the learner to acquire the language in a natural way. Here are some reasons
why teachers should use literary texts in the English class:
1. Literary texts present language in context. Contextualization helps learners to
understand meaning and promotes the learning of vocabulary and structures
effortlessly and unconsciously. This communicative principle is related to current
theories on second language acquisition, such as Stephen Krashen’s input hypothesis.
This hypothesis states that acquisition takes place as a result of learners having
understood input that is a little beyond their level competence (comprehensible
input).
2. Literary texts provide authentic language. The Communicative Approach gives
priority to authentic language as opposed to the traditional teaching practice of
using isolated sentences. Authentic language means appropriate, native-speaker use
according to specific social contexts.
3. Literary texts are motivating, because they are close to students’ interests, and are a
source of enjoyment and pleasure. Foreign language learners are familiar with them
in their mother tongue, and its use as a teaching device builds on their previous
experience.

In this unit we’ll look at the most suitable children’s literary genres, periods and authors.
The best genres to use in the English class are tales, children’s novels, nursery rhymes,
riddles and limericks. We’ll also list a typology of texts and the criteria to select them;
finally, we’ll establish the didactic application of literary texts.

This Unit is related to units 16, 17 and 19 since it deals with the theme of resources.
6 TEMARIO

1 TALES AND STORIES

1.1 CHARACTERISTICS AND FUNCTIONS
Most children always seem to be ready for a good story. As soon as they hear «Once upon
a time», they know they are just about to enter a magic world. As teachers, we can take
advantage of their eagerness for tales and use them for teaching purposes. Tales have the
following features:
„„ Vocabulary and structures are contextualized. As we have already seen, this helps with
understanding the meaning.
„„ Natural repetition of words and structures, which will help the retention of language
items («What big eyes you’ve got!» «What a big mouth you’ve got!», in Little Red Riding
Hood).
„„ Simple grammatical structures. Tales aren’t written in difficult language - they have to
be understood by children.
„„ In tales it’s easy to predict what follows. They have a familiar structure that helps
students to make predictions.
„„ Introduction of socio-cultural elements.

The use of stories in the English class has both a psychological and a didactic function:

1.1.1 Psychological function

„„ Stories enable children to make sense of their feelings. Psychologists believe that
stories help children to solve their affective conflicts. Characters such as Little Red
Riding Hood or Tom Thumb, despite their weakness, manage to defeat the wolf or the
ogre.
„„ Stories develop children’s imagination and creativity. Children become involved in
a story and identify with the characters. This imaginative experience helps them to
exercise their creativity.
„„ Stories develop social integration in the class. Storytelling provokes a shared response
of laughter, sadness, excitement and anticipation, which builds up confidence within
the group.
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1.1.2 Didactic function

„„ Stories develop positive attitudes towards the foreign language, since they provide
the students with fun, excitement and fantasy, creating in them a desire to continue
learning.
„„ Stories encourage unconscious learning of the language. Frequent repetition, simple
grammar and the easiness to predict what follows allow language to be acquired.
„„ The use of stories develops receptive skills: listening comprehension and reading
comprehension. Receptive skills have priority over productive ones in Primary
Education, especially in the first courses. Second language acquisition theories state
that comprehension skills must precede productive ones, because the acquisition of
language starts with the understanding of that language. The production of language
will come up naturally later on.
„„ Stories provide the starting point for a variety of follow-up activities: comprehension
questions, role-play exercises, projects, vocabulary and grammar exercises,
pronunciation practice, etc.
„„ They provide an insight into other cultures and the lives of others. They offer the
teacher opportunities to introduce socio-cultural aspects, as well as the possibility of
consolidating learning in other school subjects of the curriculum: history, science, art,
maths…

1.2 THE EARLY DAYS OF CHILDREN’S TALES

The History of Literature is full of examples of tales and stories – it’s easy to find examples,
such as A Thousand and One Nights. However, to find the origins of children’s literature, we
must go back to the times in which children started to be taken into consideration. One of
the first authors to do this was Comenius, in 17th century Germany. His book Orbis Pictus,
which was filled with pictures and images, was a humanistic work that revolutionized the
pedagogy of the time and was to influence children’s literature in the future.
Another predecessor in the same century was La Fontaine, in France. As a young man, La
Fontaine read classic Greek writers, such as Plato, Horace or Virgil, and used some of their
ideas about morality and politics in his fables. La Fontaine believed that fables were the
best genre for children to learn to distinguish between good and evil. He used animals to
both instruct and delight. The Grasshopper and the Ant and The Fox and the Crow are well-
known examples of fables that children all over the world have read or listened to at least
once.
In the 18th century, a well-known figure influenced children’s literature indirectly:
Rousseau (1712-1778). In his book Emile, he stated his theories about childhood: his
naturalistic, tolerant and optimistic ideas about a child’s education influenced later authors
of children’s literature. For Rousseau, the best children’s book was Robinson Crusoe,
because it teaches children to learn from their own experience.

To expand on the material covered in this section see Unit 16, sections 1.2 and 1.3.
8 TEMARIO

1.3 TRADITIONAL TALES (17TH-19TH CENTURIES)

„„ Perrault (17th century)

Perrault was the first important author who wrote for children. He shaped old tales and
folk tales from the oral tradition. He recalled tales he used to hear in his childhood from
his mother and nurse, and wrote them in a simple, fresh style – tales such as Sleeping
Beauty, Cinderella, Little Red Riding Hood, Tom Thumb, Puss in Boots… In his tales, he
recreated a world of wonder with fairies, spells and ogres, a world in which fantasy and
morality went together.

„„ The Grimm Brothers (19th century)

The Grimm Brothers were brilliant scholars and philologists who lived through the
most exciting period of German Romanticism. Like Perrault, they gathered old tales
from the oral tradition, but their style was more literary and poetic than the French
author’s. Their tales are a romantic exaltation of folk and fantasy. The characters are
all close to Nature - kings, princes, faithful servants, honest craftsmen, fishermen,
shepherds… Birds, plants and stones speak and express their feelings. But we can also
find monsters, giants and obscure powers. Examples of Grimm’s tales are: Snow White,
Hänsel and Gretel and Tom Thumb.

„„ Hans Christian Andersen (19th century)

This Danish author was influenced by Danish folk tales, poetry, philosophy and scenes
from his own childhood, which was filled with misery. In Anderson’s tales everything is
poetic - even vulgar objects or human suffering have an air of distinction. He exalts the
beauty of Nature, whilst offering a realistic view of life. Examples of his tales are The Ugly
Duckling, The Nightingale and The Tin Soldier. In contrast with the Grimm Brothers, some
of Andersen’s tales have a sad ending (e.g. The Tin Soldier), but this doesn’t affect the
poetic style of his work.

1.4 MODERN TALES (END OF 19TH CENTURY- BEGINNING OF 20TH)

During this period, British authors contributed to children’s literature with delightful books.
Books were created for the enjoyment of children and the exclusive didactic intention
of previous centuries was abandoned. Children’s literature now embraced children’s
imaginative worlds, ideas and feelings.

„„ Lewis Carroll

Wrote Alice in Wonderland, a children’s book that belongs to nonsense literature. The
plot is bizarre, to say the least, and extraordinary things happen to Alice in the story.

„„ Oscar Wilde

Wrote books of deep symbolism and morality, such as The Happy Prince and The Egoist
Giant.
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„„ J.M. Barrie

Wrote Peter Pan, the story of a boy who didn’t want to grow up.

„„ Beatrix Potter and A.A. Milne

Exploring the charming relationship between animals and children - Beatrix Potter and
A.A. Milne turn this into an art form.
„„ Beatrix Potter wrote Peter Rabbit, a tiny but delightful book, in which we get to
know all about a country rabbit. All her books show her deep love for animals and
children.
„„ A.A. Milne wrote Winnie-the-Pooh, the story of a Teddy Bear who is transformed into
a living creature. The book never seems to lose its charm.

1.5 MODERN DAY (FAIRY) TALES (20TH-21ST CENTURY)

When dealing with this age, we can take into account the boom of fairy tales but more
specifically, dystopian tales, more suitable for upper levels in Primary Education and
Bilingual Schools.
The last two decades have witnessed a sharp rise in widespread popularity of young
teenagers book series including J. K. Rowling’s «Harry Potter», Stephenie Meyer’s
«Twilight», Suzanne Collins’ «The Hunger Game» and Veronica Roth’s «Divergent». These
book series have, in turn, spawned some of the most successful films of the past years.
What makes these stories so popular? The answer may be surprising. While some may
see these series’ popularity as a recent fad, the truth is that the plots and characters in
these stories are as old as literature itself.
From the fifth-century BC «Aesop’s Fables», to the 18th-century folk and fairy tales
collected by Jacob and Wilhelm Grimm and the 20th- and 21st-century series by
Rowling, Meyer, Collins and Roth, stories of youth who venture out, learn harsh truths
about the society in which they live, overcome obstacles and gradually find their
place in the world have consistently spoken to young and adult audiences alike. These
stories, also known as bildungsroman, or «coming of age» stories, appear in folk tales,
young adult novels and teen films and share some common threads: the absence of
parental authority propels the main character into the adult world alone, and the young
protagonist must make his or her own way. Most often depicted as disadvantaged in
some way, commonly as poor, weak or bullied, the protagonist finds throughout the
story that he or she is special, endowed with a unique gift and that it is his or her duty to
use that unique gift to save family, friends or even the entire world.
One of the most effective ways to present a critique of current society is to set a story
within a fantasy or science fiction world. These environments allow the writer to criticize
modern society and the reader to imagine how he or she would deal with the problems
the protagonist faces.
10 TEMARIO

The «Harry Potter» and «Twilight» series, set in familiar, modern-day environments,
include fantasy elements to create the conflict each protagonist will face. «Harry Potter
and the Sorcerer’s Stone» uses fantasy to reveal a hidden alternate world of witchcraft
and wizardry. Harry, an orphan, taken in by his aunt and uncle, is mistreated and bullied
throughout his youth. He comes to realize that he is part of a secret world of witchcraft
and wizardry, where he is a star. The society depicted in the series addresses real 20th-
and 21st-century issues of discrimination, genocide and totalitarianism.
The «Twilight» series features Bella Swan, a shy, gawky girl who lives with her father and
loves a boy from school who is a vampire. Bella learns that she has powers, which help
her protect her family, friends and the entire race of werewolves and vampires against a
corrupt vampire leadership, the Volturi. As in the «Harry Potter» series, those with power
are shown as easily corrupted, and it is the responsibility of the protagonist to stand
against that authority to do what is right.
Other young teen series inhabit the science fiction genre and are set in dystopian
future worlds that have resulted from the failure of the society in which the reader
lives. «The Hunger Games» series features Katniss Everdeen, a girl who lost her father
and has taken on the caretaker role her mother cannot fulfill. Set in a future version
of Earth, society has been divided into districts, overseen and controlled by Panem. A
critique of the disparity in power and resources between 21st-century first and third
worlds, Katniss represents a citizen from a disadvantaged district. She is a source of
inspiration for the citizens of the other districts and becomes leader of the rebellion
against Panem.
In «Divergent,» set in a future version of Chicago, Tris Prior is part of a society divided
into five factions, segregated from the others and relegated to specific roles. At the age
of 16, members take a test to determine the faction they will join. Tris finds she does not
belong to a single faction when her test results are «divergent,» showing that she has
attributes to join any faction. Tris leaves her family and joins a faction of wild and brave
citizens. She overcomes her physical shortcomings and learns that the faction system
is corrupt and divisive. Ultimately, Tris sacrifices herself to save all of the factions and to
free them from the experiment in which they have been living.
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1.6 CHILDREN’S NOVELS

Novels appeal to older children. Children’s novels all have adventure in common. Some
of these works were originally written for adults, but have become children’s books (e.g.
Robinson Crusoe and Gulliver’s Travels).

„„ Daniel Defoe (18th century)

Wrote Robinson Crusoe, the adventures of a Scottish sailor who is shipwrecked on an

island. The protagonist symbolizes the loneliness of Man and his progress towards
civilization. Robinson manages to make fire, to look for food, to fish and hunt…
Robinson has become a familiar character for children. They can identify with him and
he has probably inspired many children’s games.

„„ Jonathan Swift (18th century)

Gulliver’s Travels is a hard satire against the society of his time. Gulliver is also
shipwrecked and he ends up in Lilliput, a country inhabited by little men.
This is the most famous of Gulliver’s journeys, but the book narrates his adventures in
other strange countries as well.

„„ Jules Verne (19th century)

This prolific author combined mystery and science. In his books, scientific knowledge
always solves the obscure situations that take place. He anticipates some of today’s
inventions and Man’s feats (e.g. Twenty Thousand Leagues under the Sea).

„„ Robert Louis Stevenson (19th century)

The Scottish Robert Louis Stevenson writer wrote Treasure Island, and his work has
greatly influenced youth literature. It is a genuine book of adventures written with
poetic spirit. Romanticism is symbolized with pirates and treasure hunters.

„„ Rudyard Kipling (19th century)

Rudyard Kipling Was born in India, and lived there until he was a young man. He wrote
the Jungle Books, the adventures of a boy who grows up in the jungle among animals.
The animals speak and act as human beings.

„„ Mark Twain (1835-1910)

A restless Southern North American, wrote the immortal Tom Sawyer, a realistic and
amusing novel that relates the adventures of a boy in a credible way.

„„ Roald Dahl (20th century)

Is a master of the short story. He wrote James and the Giant Peach, The Chocolate
Factory, Matilda… They all deal with current and varied subjects, and the narration is
attractive and agile.
12 TEMARIO

Another selection of novels for children and young teenagers in the late 20th century
and our current days could be:

Novels for children

„„ The Curious Incident of the Dog in the Night- „„ James and the Giant Peach by Roald Dahl.
Time by Mark Haddon.

„„ The Doubtful Guest by Edward Gorey. „„ The Enchanted Castle by E. Nesbit.

„„ Autumn Term (The Marlows series) by Antonia „„ A Wizard of Earthsea (Earthsea Cycle) by Ursula
Forest. K. Le Guin.

„„ Run Away Home (The Marlows) by Antonia „„ The Farthest Shore (Earthsea Cycle) by Ursula
Forest. K. Le Guin

„„ The Diddakoi by Rumer Godden. „„ Corduroy by Don Freeman.

„„ Alexander and the Wind-Up Mouse by Leo „„ The Subtle Knife (His Dark Materials series) by
Lionni. Philip Pullman.

„„ The Lion, the Witch, and the Wardrobe „„ The Golden Compass (His Dark Materials
(Chronicles of Narnia) by C.S. Lewis. series) by Philip Pullman.

„„ The Horse and His Boy (Chronicles of Narnia) „„ The Amber Spyglass (His Dark Materials series)
by C.S. Lewis. by Philip Pullman.

„„ The Magician’s Nephew (Chronicles of Narnia) „„ Carrie’s War by Nina Bawden.

by C.S. Lewis.

„„ Prince Caspian (Chronicles of Narnia) by C.S. „„ Five Children and It by E. Nesbit.

Lewis.

„„ The Voyage of the Dawn Treader (Chronicles of „„ Smack by Melvin Burgess.

Narnia) by C.S. Lewis.

„„ The Velveteen Rabbit by Margery Williams „„ The Tale of Two Bad Mice by Beatrix Potter.
Bianco.

„„ Over Sea, Under Stone (The Dark Is Rising) by „„ Watership Down by Richard Adams.
Susan Cooper.

„„ Tom’s Midnight Garden by Philippa Pearce. „„ Bambi by Felix Salten.

„„ The Sword in the Stone (The Once and Future „„ The Pigman by Paul Zindel.
King) by T.H. White.

„„ The Weirdstone of Brisingamen (Tales of „„ The Pigman’s Legacy by Paul Zindel.

Alderley) by Alan Garner.

„„ Mary Poppins by P.L. Travers. „„ Dragons of Autumn Twilight (Dragonlance:

Chronicles) by Margaret Weis.

„„ Harry Potter and the Half-Blood Prince by J.K. „„ Pollyanna by Eleanor H. Porter.
Rowling.

„„ Harry Potter and the Deathly Hallows by J.K. „„ The Secret Garden by Frances Hodgson
Rowling. Burnett.

„„ The Tale of Samuel Whiskers, or The Roly-Poly „„ The 101 Dalmatians by Dodie Smith.
Pudding by Beatrix Potter.

„„ Anne’s House of Dreams (Anne of Green „„ The Borrowers by Mary Norton.

Gables) by L.M. Montgomery.
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1.7 A SELECTION OF STORYBOOKS FOR CHILDREN

Nowadays there is an endless proliferation of storybooks for children. Many publishers
produce adapted storybooks for children learning English. These books are adapted to
the learners’ age, level of English and interests, and they are useful from a methodological
point of view: they enable the teacher to recycle vocabulary or structures in a profitable
way.
Here is a selection of storybooks that work well with children:

XX Picture Puffin publications

„„ Raymond Briggs. The Snowman

(1978).
„„ Carle, E. The Very Hungry
Caterpillar (1971) and The Bad-
Tempered Ladybird (1977).
„„ Hawkins, C. and J. Pat the Cat
(1983).
„„ Hill, E. Where’s Spot? (1980), Spot’s
first Christmas (1984).
„„ Vipont and Briggs. The Elephant
and the Bad Baby (1971).

XX Picture Lions publications

„„ Hawkins, C. Mr Wolf’s week (1987)

and What’s the time, Mr Wolf?
(1983).
„„ Martin, B. Brown bear, brown
bear, what do you see? (1988).
„„ Tolstoy, A. And Oxenbury. The
Great Big Enormous Turnip (1988).
14 TEMARIO

XX Walker Books publications

„„ Hawkings, C. Where’s my Mummy? (1985) and Terrible Terrible Tiger (1987).

XX Oxford publications

„„ Korky Paul and Valery Thomas. Winnie the Witch (2016) and Winnie in Winter (1999).

„„ Wright, Andrew. The Hairy Tree Man (1992) and Oh no, I’m a Cat! (1992).

XX Other publishing houses

„„ Donaldson, J. and Scheffler, A. The Gruffalo (2006). Puffin Books.

„„ Tullet, H. PRESS HERE (2011) and MIX IT UP! (2014). Chronicle Books.

„„ Daywalt, D. and Jeffers, O. The Day that Crayons Quit (2013). Philomel Books.

„„ How do literary texts benefit communicative language teaching? What are the
psychological functions of literary texts? What is the didactic function of literary texts?
„„ What are some traditional children’s tales from the 17th to 19th centuries? What are
some modern tales from the end of the 19th century to the beginning of the 20th?

„„ The use of stories in English class serves both psychological and didactic functions.
Psychologically, stories enable children to make sense of their feelings, help develop
children’s imagination and creativity, and develop social integration in class.
Didactically, stories develop positive attitudes towards the foreign language, encourage
unconscious learning, and help develop receptive skills: listening comprehension and
reading comprehension.
„„ The history of literature is full of examples of tales and stories. Perrault was the first
important author who wrote for children. The Grimm Brothers and Hans Christian
Andersen wrote traditional tales in the early 19th century. Modern tales from the end
of the 19th century to the beginning of the 20th broke free from tradition, embracing
children’s imaginative worlds, ideas, and feelings. With authors such as Lewis Carroll
and J.M. Barrie.
„„ Novels for older children all have adventure in common. Authors in this genre include:
Daniel Defoe, Jonathan Swift, Jules Verne, Robert Louis Stevenson, Rudyard Kipling,
Mark Twain, and Roal Dahl. Nowadays, there is an endless proliferation of storybooks
for children, with many publishers producing adapted storybooks for children learning
English.
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2 OTHER GENRES
2.1 NURSERY RHYMES
A nursery rhyme is a short poem or song for young children. Most nursery rhymes are
traditional and well-known.

2.1.1 Characteristics
This genre has a few things in common with tales:
„„ Natural repetition of words and structures.

„„ Simple grammatical structure.

„„ Introduction of socio-cultural aspects (food, children’s games, animals, etc.).

Nursery rhymes differ from tales in the following aspects:

„„ They are short. Nursery rhymes are good for improving attention span and easy to be
learnt by heart.
„„ They have a marked rhythm and musicality, enabling children to grasp intonation
patterns and pronunciation.
„„ Most of them can be accompanied by actions. The emphasis on actions in foreign
language teaching has a positive effect on the acquisition of a language. (In fact, there
is a method on second language acquisition based on the principle that language is
learnt through physical activity. This method is called Total Physical Response and was
developed by James Asher). An example of this type of rhyme is Teddy Bear, Teddy Bear:
Teddy Bear, Teddy Bear,
Touch the ground.
Teddy Bear, Teddy Bear,
Turn around.
Teddy Bear, Teddy Bear,
Tie your shoes.
Teddy Bear, Teddy Bear
Goodbye to you!
„„ The reduced vocabulary of nursery rhymes makes them easy to learn.

2.1.2 Texts, periods and authors

„„ Watts (18th century) wrote Divine Songs for Children. He was recognized as the first poet
for children.
„„ Ann and Jane Taylor (18th century) wrote Original Poems for Infant Minds, including
Twinkle, Twinkle Little Star.
„„ Robert Browning (19th century) wrote The Pied Piper of Hamelin.
16 TEMARIO

„„ Edward Lear (19th century) wrote Book of Nonsense.

„„ R.L. Stevenson (19th century) wrote A Child’s Garden of Verses.

„„ A.A. Milne (20th century), the author of Winnie-the-Pooh, also wrote children’s rhymes.

2.2 RIDDLES AND LIMERICKS

Like nursery rhymes, riddles are short, with marked intonation and rhythm. They add a
new element: the children have to think about what is being described:
You eat me for breakfast
But first crack my shell
If I’m fresh I’m tasty
If not – what a smell!
(Answer: the egg)
Limericks are humorous rhymes, which have their origin in holiday parties in which each
person has to say a humorous verse:
There once was a man from Darjeeling,
Who travelled from London to Ealing,
When it said on the door
«Please don’t spit on the floor»
He carefully spat on the ceiling.
The origin of limericks is popular and the author is usually unknown. The first ones
appeared in The History of Sixteen wonderful women, in the 19th century. In Edward Lear’s
Book of Nonsense we can find plenty of examples of limericks.

„„ What are the characteristics of nursery rhymes? What are some popular nursery rhyme
texts?
„„ What do nursery rhymes, riddles and limericks have in common? What new element do
riddles and limericks add to the learning process?

„„ Nursery rhymes, riddles and limericks are effective in language learning. They help
improve pronunciation, increase student’s vocabulary, introduce the art of recitation,
and bring fun to the English class.
„„ Nursery rhymes are short, for improving attention span, have a marked rhythm and
musicality, enabling children to grasp intonation patterns and pronunciation. Also,
most of them can be accompanied by actions, which has a positive effect on the
acquisition of a language.
„„ Like nursery rhymes, riddles are short, with marked intonation and rhythm. They also
add a new element, which is that children have to think about what is being described.
 LENGUA EXTRANJERA: INGLÉS 17
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3 TYPOLOGY OF TEXTS
3.1 CLASSIFICATION OF TEXTS
We can classify literary texts according to four criteria: genre, content, presentation and
type of version (authentic vs. adapted).

3.1.1 Genre
„„ Narrative: tales and children’s novels.

„„ Verse: nursery rhymes, humorous rhymes, riddles.

3.1.2 Content

„„ Traditional tales

„„ Fairy tales

„„ Fantasy stories

„„ Animal stories

„„ Cumulative stories with predictable endings

„„ Humorous stories

„„ Everyday stories

„„ Adventure stories

3.1.3 Presentation

„„ Illustrated stories

„„ Stories with no text

„„ Stories with bubbles

„„ Stories with flaps or pop-outs

3.1.4 Authentic vs. adapted texts

„„ Authentic texts

They are written for English-speaking children, so the language hasn’t been selected or
graded. The advantage of using them is that they provide examples of «real» language.
We can select texts that contain language found in most beginner syllabuses.
Authentic texts have a further advantage: they can be very motivating - children can
experience a strong sense of achievement at having worked with a «real» text.

„„ Adapted texts

They’re specifically written for the teaching of English as a foreign language, so

language has been selected and graded. They are useful for pedagogical reasons, since
they adapt to children’s level of competence. However, they run the risk of representing
a «diluted» version of the English language.
18 TEMARIO

3.2 CRITERIA FOR SELECTING LITERARY TEXTS

The teacher must take care when selecting the text he/she is going to use for teaching
purposes. Here are several criteria to take into consideration:
1. Student’s age.
The teacher must take into account the students’ age. An eight-year-old child doesn’t
have the same interests and language competence as an eleven year-old student.
Students from first to fourth courses will be more interested in fairy tales, fantasy books
or animal books; the students of fifth and sixth courses may be more interested in
everyday life stories or adventure stories.
2. Level of vocabulary, structures and functions.
The text shouldn’t be too easy or too difficult for the student’s level of English, and the
language should be included in the course syllabus.
3. The subject.
The story must be interesting, amusing and easy to remember. We should also look for
stories through which students can learn about other subjects and cultures.
4. The characters.
They must stimulate curiosity, and their actions must be meaningful to children. The
attitudes and values that the characters present should be relevant and appropriate
for the children’s age group, as well as being applicable to their daily lives. For example,
being polite to others, accepting others, taking care of the environment, etc. The
teacher may need to change some of the characters’ behaviour (especially with
characters from traditional stories) to offer more modern values.
5. The use of visuals.
The illustrations must be appropriate for the age of our pupils, attractive and colourful.
6. The language content.
If the text is authentic, we should choose carefully: the language must be accessible and
relevant. If, however, the text is a simplified version, the language must be as appropriate
and representative of the variety spoken in the target language as possible.
7. Rhyme and rhythm.
We can consider other factors such as rhyme and rhythm, onomatopoeia and alliteration
that help our learners understand the story, and later imitate and improve their
pronunciation.
8. Balance between narrative and dialogue.
It’s important for the narrative to present repeated patterns of language which will
encourage children to participate. Equally, dialogues are important because they offer
models of useful language for speaking practice.
 LENGUA EXTRANJERA: INGLÉS 19
15

9. Potential for follow-up activities.

The text must provide a starting point for language practice such as role-play, practice
activities, written exercises, etc. so as to reinforce vocabulary, pronunciation and
structures in a meaningful and memorable way.

„„ What four criteria are used to classify literary texts? What is the difference between
authentic texts and adapted texts?
„„ What should be taken into consideration when selecting literary texts?

„„ Literary texts can be classified according to four criteria: genre, content, presentation,
and type of version (authentic vs. adapted).
„„ Authentic texts are written for English-speaking children, so the language hasn’t been
selected or graded. The advantage of using them is that they provide examples of real
language. Whereas, adapted texts are specifically written for the teaching of English as
a foreign language, so language has been selected and graded.
„„ To be effective, a teacher needs to take several factors into consideration when
selecting the text to use for teaching purposes: student’s age, level of vocabulary,
structures and functions, subject, use of visuals, language content, and potential for
follow-up activities.
20 TEMARIO

4 DIDACTIC APPLICATION OF LITERARY TEXTS

4.1 HOW TO USE STORIES IN FLT
The main aim of using storybooks is to encourage general comprehension and to stimulate
purposeful language-learning activities. Introducing and exploiting storybooks successfully
in the classroom needs careful preparation, and it should cover several lessons.
Stories offer variety and can be used to provide extra language practice by supplementing
and complementing a course book. Alternatively, they can be used as a short basic
syllabus in their own right. That’s to say, they can be used to introduce elements of the
English Language.
Here’s how to make the most of stories.

4.1.1 Pre-listening stage

These are activities to arouse children’s curiosity and expectations:
„„ The teacher can get pupils to identify elements in the pictures. Children can tell the
teacher words they already know.
„„ He/she can explain the context, key words, etc., in the child’s mother tongue if
necessary.
„„ He/she can get the students to deduce from their observations.

„„ The students can give opinions about their observations.

„„ The students can predict what they think might happen.

4.1.2 While-listening stage

The students are now ready to listen to the story. The teacher can either read out the story
or play the story on a tape or CD.
Using a recording has the following advantages:
„„ The voice provides a model of English spoken by a native speaker.
„„ It provides a variety of voices.
„„ Some recordings provide sound effects, which are motivating and helpful for the
understanding of the story.
If the teacher is the storyteller, there are other advantages:
„„ It allows closer proximity to children. The teacher can involve the children actively in
the story by asking them questions, for instance.
„„ The teacher can use gestures, intonation, repetitions, pauses, slow down the narration
to encourage them to predict what happens next or to clarify a language item, increase
expectations, etc.
„„ The teacher can disguise his/her voice for different characters to help convey meaning
and to attract the pupil’s attention.
 LENGUA EXTRANJERA: INGLÉS 21
15

Irrespective of the way the children are going to listen to the story, the teacher will have
to tell (or play) the story more than once. Pupils love hearing stories over and over again.
Furthermore, repetition helps to retain structures and vocabulary.
In the while-listening stage, the teacher can ask the students to perform a task. It’s
important to remember that listening is not a passive activity; on the contrary, it’s a
complex active process, during which the student should understand the meaning of
words. The teacher can use activities that actively support learners’ understanding and
guide their attention to specific parts of the story. Teachers must also build up students’
confidence by telling them that they cannot always be expected to understand every
word.
While listening to the story, children can:
„„ Follow the plot of the story without being too concerned about the details (skimming).

„„ Sequence the pictures of the story.

„„ Complete true/false exercises.

„„ Count the characters, places, animals, etc., that appear in the story

„„ Do Total Physical Response activities. For example, they can do an action or point to a
picture when hearing a word or phrase.
„„ Repeat key vocabulary items or phrases. Young children must be encouraged to
participate in the storytelling. The teacher can invite them to do this by pausing and
looking at them with a questioning expression.
„„ Mime the story. The teacher can play the recording or re-tell the story while students
mime it. This can also be done in groups, so that everybody is acting.
„„ Correct the mistakes. The students listen to the story a second time, but this time they
should listen out for any mistakes and try to correct them.

4.1.3 Post-listening stage

These follow-up activities will consolidate the language presented in the story. These
activities also aim at skill integration.
„„ Describing characters and places of the story.

„„ Role-play. This is a more difficult activity, since it involves the students speaking. The
teacher can adapt the dialogues to the students’ competence.
„„ The students can read the story out loud.

„„ Comprehension questions about the story.

„„ Pronunciation practice: practise of difficult sounds, intonation patterns, etc.

„„ Sequencing the pictures of the story.

„„ Dictation of words or expressions from the story. Dictations are very useful activities for
improving spelling and integrating the skills of listening and writing.
22 TEMARIO

„„ Drawings. Children love drawing and colouring. They can re-draw characters, the
setting, their favourite sequence…they could also think of other possible cover
illustrations.
„„ Doing word games using vocabulary from the story. For example, completing
crosswords.
„„ Singing a song about the story or about its characters. Very often, the topics developed
in stories are to be found in various songs and rhymes. Learning such songs provides
an opportunity for children to practise certain language structures as well as
pronunciation and intonation.
„„ Vocabulary activities. Children can create a «Picture Dictionary», with words from the
story they’ve just heard. They can choose whether to arrange the words alphabetically
or thematically, and they can illustrate the words either by drawing pictures themselves
or by cutting pictures from magazines. Handicrafts: children can create their own
masks, hats, puppets, etc., as well as models of streets, forests… inspired by the
characters and places in the story. These activities develop oral comprehension
through the language used for giving instructions: cut, glue, stick…

To expand on the material covered in this section see Unit 16, section 2.2.

4.2 STORYTELLING TECHNIQUES

Children are used to listening to stories in the mother tongue; it’s hard work, however, in a
foreign language. The teacher must ensure that their understanding is clear.
Brewster et al. establish a number of techniques the teacher can use when reading stories
aloud:
„„ It is important to set the mood. If possible, the children sit on the floor around the
teacher. The teacher asks the students to sit quietly.
„„ The teacher should make sure the students can see the teacher’s face and the
illustrations of the story.
„„ The teacher should read slowly and clearly, varying the pace and volume when
necessary.
„„ He/she should involve the student actively by asking questions, making them repeat
key vocabulary, point to the illustrations, or do an action.
„„ The teacher must use gestures, facial expressions, varied intonation and so on as much
as possible to help convey meaning and to maintain the students’ attention.

Above all, we must remember that storytelling is an art and telling stories in a foreign
language isn’t easy. Any teacher, whether a native speaker or not, needs careful
preparation and practice.
 LENGUA EXTRANJERA: INGLÉS 23
15

4.3 HOW TO MAKE THE MOST OF RHYMES,

RIDDLES AND LIMERICKS
The common element in rhymes, riddles and limericks is that they are short and they
rhyme. They are useful for practicing intonation patterns, pronunciation, vocabulary and
grammar.
The teacher can follow this approach:

4.3.1 Pre-listening stage

„„ The teacher can explain difficult words the children may encounter.

„„ The teacher can explain the cultural background of the rhyme.

„„ The teacher can present pictures to help with understanding.

4.3.2 Listening stage

„„ Children listen to the rhyme to hear the natural rhythm of the verse.

„„ They listen to it again, but this time the teacher stops after each verse.

„„ They can clap as they say the rhymes. This will help to develop a sense of rhythm.

„„ Children can use gestures or mime the actions if it is an action rhyme.

4.3.3 Production stage

„„ Children imitate the model verse by verse. First, all together; then in groups and, finally,
one by one.
„„ Taking turns. The class can be divided in groups. Each group has to recite a verse.
„„ Performing the rhyme. A group can perform the rhyme for the rest of the class.
„„ Inventing new verses. Children can add new verses to a rhyme, invent a riddle or
change words in a limerick.
24 TEMARIO

4.4 EXTENSIVE READING

As we said above, the use of stories develops receptive skills: listening comprehension
and reading comprehension. Listening comprehension is developed through storytelling,
whereas reading comprehension is developed through extensive reading. Extensive
reading is another didactic application of literary texts.
In extensive reading, the student has to cope with a text without worrying about
understanding every unknown word or structure. The main objective should be to train
the students to read fluently in English for pleasure, without the aid of the teacher. This
purpose can be applied to our older students in Primary Education, since younger learners
are still at an early stage of reading development in their mother tongue.
Extensive reading should play an important part in the foreign language class for several
reasons (Hubbard and Thornton):
„„ It’s an activity that can be carried out by the pupils on their own, outside the classroom.

„„ It reinforces language that has already been presented.

„„ It gives students useful practise in deducing meaning from context.

„„ It increases motivation towards the target language.

„„ It may be the only opportunity students have to increase their reading speed, as this
skill is rarely taught in the average English class. The more they read extensively, the
faster they learn to read.

The most obvious way of directing students’ attention towards reading is to have a set of
readers and adapted books of different levels available for borrowing. A book corner in
the classroom allows pupils to look through books of their own choice, at their own pace.
Borrowing books also provides an introduction to the written word in English.
Jean Brewster establishes useful tips to set up a book corner:
„„ Displaying books with the cover showing - it will make the selection of a book much
easier.
„„ Decorating the corner with any artwork done by the pupils, inspired by the stories
they’ve read. Imaginative displays help pupils develop a positive attitude towards
books.
„„ Getting the pupils to write comments about different books and to stick them on the
wall. This will motivate other pupils to read that book.
„„ Keeping a class record of books that have been read. Write the titles of books
horizontally on a chart. When pupils have read a book they can write their name in
the corresponding space. At the end of the school term, pupils can see what the most
popular book is.
 LENGUA EXTRANJERA: INGLÉS 25
15

„„ Involving your pupils in the organization of the book corner. This encourages the
development of responsibility. Each week or month, the class can elect a book corner
librarian. He/she will have to keep the book corner tidy.
„„ Devising a lending system. The teacher has to prepare a notebook in which pupils will
write their names, the title of the book, date borrowed and date returned. The book
corner librarian can also take responsibility for this.

There are some follow-up activities that students can do after regular book reading. Some
of these activities have already been explained in the post-listening stage: drawing and
colouring, handicrafts, vocabulary activities, etc. Older students can be asked to fill in a
book-report form, writing details about the plot, main characters, etc., as well as their
personal opinion about the book. They can also look words up in the dictionary.
Above all, extensive reading should become reading for pleasure. Forcing the students
to read will defeat the object of the activity. Students will never become lifetime readers
unless they see reading as a pleasurable task.

„„ What is the main aim of using storybooks? What three stages are used to create
activities for comprehension?
„„ What are some storytelling techniques teachers can use when reading stories aloud?
What are rhymes, riddles and limericks good for practicing?

„„ The main aim of using storybooks is to encourage general comprehension and to

stimulate purposeful language-learning activities. Activities can be implemented
at the pre-listening stage, while-listening stage, and post-listening stage to assure
students are engaged and learning.
„„ There are several storytelling techniques to ensure that understanding is clear for the
children. Techniques that the teacher can use when reading stories aloud include:
setting the mood, ensuring children can see the teacher’s face and illustrations of the
story, reading slowly and clearly, and involving the students.
„„ The use of stories develops receptive skills: listening comprehension and reading
comprehension. Listening comprehension is developed through storytelling, whereas
reading comprehension is developed through extensive reading. Extensive reading is
another didactic application of literary texts.
26 TEMARIO

CONCLUSION
In this unit we have reviewed the most suitable literary genres to use in the English class.
The teacher will have to decide on the type of text to use, according to criteria such as
students’ age and interests, and the linguistic and cultural potential of the text.
Literary texts offer a great source of teaching possibilities, since language is presented in a
meaningful and attractive context. But simply reading a story out loud or reciting a rhyme
could be disastrous without careful preparation. If a teacher selects an appropriate text
and plans its exploitation carefully, he/she will be developing the students’ communicative
competence, and purposeful receptive and productive skills will be developed.
 LENGUA EXTRANJERA: INGLÉS 27
15

BIBLIOGRAPHY

BRAVO-VILLASANTE, C.: Historia de la Literatura infantil universal. Ed. Doncel. 1971.

BREWSTER, J. et al.: The Primary English Teacher’s Guide. Penguin. 1992.
HOUSE, S.: An Introduction to Teaching English to Children. 1997.
HUBBARD, P.: A Training Course for TEFL. Oxford University Press. 1999.
HÜRLIMANN, B.: Tres siglos de Literatura infantil europea. Ed. Juventud. 1968.

„„ WEBGRAPHY

http://www.ite.educacion.es/gl/recursos
Ministry of Education, Culture and Sport. Educational resources.
http://fairytalesoftheworld.com/all-stories/
Fairy Tales of the World.

REMEMBER
1. TALES AND STORIES
1.1. CHARACTERISTICS AND FUNCTIONS
Most children always seem to be ready for a good story. As
soon as they hear «Once upon a time», they know they are
just about to enter a magic world. As teachers, we can take
advantage of their eagerness for tales and use them for
teaching purposes.
1.1.1  Psychological function
„„ Stories enable children to make sense of their feelings.
„„ Stories develop children’s imagination and creativity.
„„ Stories develop social integration in the class.
1.1.2  Didactic function
„„ Stories develop positive attitudes towards the foreign
language,
„„ Stories encourage unconscious learning of the language.
„„ The use of stories develops receptive skills: listening
comprehension and reading comprehension.
„„ Stories provide the starting point for a variety of follow-up
activities.
„„ They provide an insight into other cultures and the lives
of others.
1.2. THE EARLY DAYS OF CHILDREN’S TALES
The History of Literature is full of examples of tales and
stories. However, to find the origins of children’s literature,
we must go back to the times in which children started to be
taken into consideration.
Comenius (17th century), with his book Orbis pictus; La
Fontaine’s fables (17th century); Rousseau’s theories about
childhood-influenced literature.
1.3. TRADITIONAL TALES (17TH-19TH CENTURIES)
Perrault (17th century). The first important author who wrote
for children. He gave form to old tales from oral tradition; the
Grimm Brothers (19th century) - their style was more poetic
than Perrault’s. Example: Hänsel and Gretel; Hans Christian
Andersen (19th century). His style was poetic, but at the
same time he offered a true image of life. Example: The Ugly
Ducking.
LENGUA EXTRANJERA: INGLÉS 29
15
1.4. MODERN TALES
(END OF 19TH CENTURY- BEGINNING OF 20TH)
they reflect children’s ideas and feelings, their world: Lewis
Carrol´s Alice in Wonderland; Oscar Wilde´s tales; JM Barrie´s
Peter Pan; Beatrix Potter´s Peter Rabbit…
1.5. MODERN DAY (FAIRY)
TALES (20TH-21ST CENTURY)
The last decades have witnessed a sharp rise in widespread
popularity of young teenagers book series including J. K.
Rowling’s «Harry Potter,» Stephenie Meyer’s «Twilight»,
Suzanne Collins’ «The Hunger Game» and Veronica Roth’s
«Divergent”.
1.6. CHILDREN’S NOVELS
They appeal to older children. They all have adventure in
common: Daniel Defoe’s Robinson Crusoe; Jonathan Swift’s
Gulliver’s Travels; Jules Verne’s novels; another selection
of novels for children and young teenagers in the late
20th century and our current days could be: “The Curious
Incident of the Dog in the Night-Time” by Mark Haddon;
“The Doubtful Guest” by Edward Gorey; “Prince Caspian
(Chronicles of Narnia)” by C.S. Lewis….
1.7. A SELECTION OF STORYBOOKS FOR CHILDREN
Nowadays there is an endless proliferation of storybooks
for children. Many publishers produce adapted storybooks
for children learning English. These books are adapted to
the learners’ age, level of English and interests, and they are
useful from a methodological point of view: they enable the
teacher to recycle vocabulary or structures in a profitable
way.
Here is a selection of storybooks that work well with children:
„„ Picture Puffin publications. Raymond Briggs: The Snowman
(1978); Carle, E: The Very Hungry Caterpillar (1971) and The
Bad-Tempered Ladybird (1977).
„„ Picture Lions publications. Hawkins, C.: Mr Wolf’s week
(1987) and What’s the time, Mr Wolf? (1983); Martin, B.
Brown bear, brown bear, what do you see? (1988)…
„„ Walker Books publications. Hawkings, C.: Where’s my
Mummy? (1985)…
„„ Oxford publications. Korky Paul and Valery Thomas: Winnie
the Witch (2016) and Winnie in Winter (1999)…
„„ Donaldson, J. and Scheffler, A.: The Gruffalo (2006);
Tullet, H.: PRESS HERE (2011) and MIX IT UP! (2014);
Daywalt, D. and Jeffers, O.: The Day that Crayons Quit
(2013).
30 TEMARIO

2. OTHER GENRES 3.2. CRITERIA FOR SELECTING LITERARY TEXTS

The teacher must take care when selecting the text he/she
is going to use for teaching purposes. Criteria to take into
2.1. NURSERY RHYMES consideration:
A nursery rhyme is a short poem or song for young children. „„ Student’s age.
Most nursery rhymes are traditional and well-known.
„„ Level of vocabulary, structures and functions.
2.1.1  Characteristics „„ The subject.
„„ The characters.
Natural repetition of words and structures; simple
grammatical structure; introduction of socio-cultural aspects „„ The use of visuals.
(food, children’s games, animals, etc.)… „„ The language content.
„„ Rhyme and rhythm.
2.1.2  Texts, periods and authors „„ Balance between narrative and dialogue.
Watts (18th century), Divine Songs for Children; Ann and Jane „„ Potential for follow-up activities.
Taylor (18th century), Original Poems for Infant Minds; Robert
Browning (19th century), The Pied Piper of Hamelin; Edward
Lear (19th century), Book of Nonsense; R.L. Stevenson (19th 4. DIDACTIC APPLICATION
century), A Child’s Garden of Verses; A.A. Milne (20th century),
Winnie-the-Pooh… OF LITERARY TEXTS

4.2.1  HOW TO USE STORIES IN FLT

2.2. RIDDLES AND LIMERICKS
The main aim of using storybooks is to encourage general
Like nursery rhymes, riddles are short, with marked
comprehension and to stimulate purposeful language-
intonation and rhythm. Limericks are humorous rhymes,
learning activities. Introducing and exploiting storybooks
which have their origin in holiday parties in which each
successfully in the classroom needs careful preparation and
person has to say a humorous verse.
it should cover several lessons.

4.2.2  Pre-listening stage

3. TYPOLOGY OF TEXTS The teacher can get pupils to identify elements in the
pictures. Children can tell the teacher words they already
3.1. CLASSIFICATION OF TEXTS know; he/she can explain the context, key words, etc., in the
child’s mother tongue if necessary…
We can classify literary texts according to four criteria: genre,
content, presentation and type of version (authentic vs. 4.2.3  While-listening stage
adapted).
The students are now ready to listen to the story. The teacher
3.1.1  Genre can either read out the story or play the story on a tape or
CD.
Narrative: tales and children’s novels; verse: nursery rhymes,
humorous rhymes, riddles. 4.2.4  Post-listening stage

3.1.2  Content These follow-up activities will consolidate the language

presented in the story, and also aim at skill integration:
Traditional tales, fairy tales, fantasy stories, animal stories, describing characters and places of the story; role-play; the
cumulative stories with predictable endings, humorous students can read the story out loud, etc.
stories, everyday stories, adventure stories

3.1.3  Presentation 4.1. STORYTELLING TECHNIQUES

Illustrated stories, stories with no text, stories with bubbles, Children are used to listening to stories in the mother
stories with flaps or pop-outs tongue; it’s hard work, however, in a foreign language.
The teacher must ensure that their understanding is clear.
Brewster et al. establish techniques the teacher can use
3.1.4  Authentic vs. adapted texts
when reading stories aloud.
„„ Authentic texts: are written for English-speaking children,
so the language hasn’t been selected or graded.
„„ Adapted texts: are specifically written for the teaching
of English as a foreign language, so language has been
selected and graded.

4.2. HOW TO MAKE THE MOST OF RHYMES,
RIDDLES AND LIMERICKS
The common element in rhymes, riddles and limericks is
that they are short and they rhyme. They are useful for
practicing intonation patterns, pronunciation, vocabulary
and grammar.
4.2.1  Pre-listening stage
The teacher can explain difficult words the children may
encounter; he/she can explain the cultural background of
the rhyme…
4.2.2  Listening stage
Children listen to the rhyme to hear the natural rhythm of
the verse; they listen to it again, but this time the teacher
stops after each verse, etc.
4.2.3  Production stage
Children imitate the model verse by verse. First, all together;
then in groups and, finally, one by one; taking turns; etc.
LENGUA EXTRANJERA: INGLÉS 31
15
4.3. EXTENSIVE READING
The use of stories develops receptive skills: listening
comprehension and reading comprehension. Listening
comprehension is developed through storytelling, whereas
reading comprehension is developed through extensive
reading. Extensive reading is another didactic application of
literary texts.
Jean Brewster establishes useful tips to set up a book corner:
displaying books with the cover showing (it will make the
selection of a book much easier); decorating the corner
with any artwork done by the pupils, inspired by the stories
they’ve read; etc.
32 TEMARIO

„„ Perrault
17 th
„„ Grimm B.
19 th „„ Andersen

„„ L. Carrol
19 th
„„ O. Wilde
„„ J.M. Barrie
Tales
20 th „„ B. Potter
„„ A.A. Milne
„„ E.B. White

„„ V. Roth
21 st
„„ S. Meyer
NARRATIVE
„„ D. Defoe
18 th
„„ J. Swift

„„ J. Verne
„„ R.L. Stevenson
19 th
„„ R. Kipling
Novels
„„ M. Twain

„„ R. Dahl
20 th
„„ J.K. Rowling
LITERARY GENRES
„„ C.S. Lewis
21 st
„„ M. Haddon

„„ Watts
18 th
„„ Taylor

Nursery „„ R. Browning
rhymes 19 th „„ E Lear
„„ R.L. Stevenson

VERSE 20 th „„ A.A. Milne

Riddles and
19 th „„ E. Lear
limericks

Listening comprehension
DIDACTIC
APPLICATION
Extensive reading
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