LITERARY ELEMENTS

Intended Learning Outcomes

▪ Point out the elements of the story

▪ Cull important Greek and Roman personages and their
contribution to Literature
▪ Discover how great works become mirror of culture,
psyche, character of nation and its people
▪ Use the literary elements in appreciating a piece of
literary work

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A. Plot
B. Characters
C. Conflict
D. Narration
E. Setting and Atmosphere
F. Imagery and Figures of Speech
4
 Flow of Events
• All stories are made up of events arranged in a logical and
causal manner either in a natural/ chronological, flashback, in
medias res, or episodic series.
• This series or flow of events is known as plot.
• Also called as the Dramatic Arc in plays and films, the Plot
Pyramid is made by Gustav Freytag in 1863 on his work
entitled, “Die Technik des Dramas
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Plot Pyramid
2. Rising Action- is when the conflict is complicated
by the introduction of related secondary conflicts,
including various obstacles that frustrate the
protagonist’s attempt to reach his goal.
Plot Pyramid
3. Climax or the turning point, marks a change, for the better or the
worse, in the protagonist’s affairs.
• If the story is a comedy, things will have gone badly for the protagonist
up to this point then will turn, and things will begin to go well for him
or her.
• If the story is a tragedy, things will go from good to bad for the
protagonist.
Plot Pyramid
4. Falling Action-also known as denouement (untying of knot) is the moment of
reversal after the climax, where the conflict between the protagonist and the
antagonist unravels, with the protagonist winning or losing against the
antagonist.
• The falling action might contain a moment of final suspense, during which the
final outcome of the conflict is in doubt.
11
Let’s Check!
Arrange the pictures in chronological order of events.
Arrange the pictures in chronological order of events.
Arrange the pictures in chronological order of events.
Arrange the pictures in chronological order of events.
Arrange the pictures in chronological order of events.
B. CHARACTERS

I T ER A R Y
C HARA C T E R S

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18
It is the central person in The character that
a story, and is often represents the opposition
referred to as the main
against which the
character. He or she is
faced with a conflict that protagonist must
must be resolved. contend or overcome.
 Is a fully-developed figure. It Is the opposite of a round
is more realistic and complex character. This literary
showing depth of personality.
personality is notable for one
It is a character that
requires more kind of personality trait or
attention by the readers. characteristic.
 A person who changes over time, Is someone who does not change
usually as a result of resolving a over time; his or her personality
central conflict. does not
This person transform or evolve.
usually starts as They often show
a bad guy, but ends contrast to dynamic
up being good. ones.
 This is a major character, It is any major or minor
usually the protagonist, who character whose very
lacks conventional existence represents some
nobility of mind, and who major or important idea
struggles for values not or aspect of society or
deemed universally morality.
admirable.
 This refers to what the This refers to how readers
narrator directly says or infer about the character
thinks about a
through speech, thoughts,
character. In other
words, readers effect on other characters,
are told what they actions, and looks.
are like.
Aristotle characterizes a Tragic Hero as:
▪ 1. A person with noble stature and has greatness, whose character will be put into a test through
pathos (suffering).
▪ 2. Though great, is not perfect. Tragic flaws, in the form of hubris (excessive pride or passion), and
hamartia (fatal flaw) will lead to an effective peripeteia (reversal of situation or plot twist);
▪ 3. The cause of one’s nemesis (downfall) is the result of one’s free choice;
▪ 4. Nevertheless, the hero’s misfortune is not wholly deserved. The punishment exceeds the crime;
▪ 5. Though it may result in the hero's death, before it, there is some increase in anagnorisis
(recognition or discovery).
▪ 6. Though it arouses emotional pain, the hero does not leave its audience in a state of depression.
It produces catharsis (emotional purification) at the end, one shared as a common experience by
the audience.

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C. CONFLICT

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C. NARRATION
• is the use of a commentary, written or spoken language to convey a story to an
audience

• A narrator is a participant (part of the story) or a non-participant (voice over)

character that the author develops to deliver information to the audience,
particularly about the plot.

Jacques Cousteau
French narrator, explorer and scientist known as the
inspiration for the narrator’s voice in SpongeBob
Squarepants
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7 Narration Tools

1. Action is where every sense is involved. (Show! Don’t just tell.)

▪ 2. Dialogue is conversation through quotation as a way people speak
in reality.
▪ 3. Interior monologue reveals some of the thoughts that your
characters have.
▪ 4. Interior emotion provides what your characters are feeling either
the exact physiological response or direct telling what emotion is
being experienced.

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7 Narration Tools

▪ 5. Description is seeing what the character is seeing as a powerful tool

and should be used during peaks in the story.
▪ 6. Flashback contains previous actions, dialogue, and emotion.
▪ 7. Narrative summary is a summary of what happened some other time,
or what happens right now but dragged out over a long period of time.

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3 Narrative Elements

1. Point of View –(POV or vantage point) describes the position of

the narrator, that is, the character of the storyteller, in relation to
the story being told.
▪ First Person POV is used if a narrator is also a character within his or
her own story usually hinted by the pronouns “I” and “we”.
▪ Frequently, the narrator is the protagonist, whose inner thoughts
are expressed to the audience, even if not to any of the other
characters.

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 I POKE MY HEAD out of the tent, look left and right, and then streak across to the
stock car. I am followed by guffaws and catcalls. "Whooeeee, look at that hot mama!" "Hey, Fred—
check out the new cooch girl!" "Say, honey—got plans tonight?"
I dive into the goat room and slam the door, leaning against it. I breathe heavily,
listening until the laughter outside dies down. I grab a rag and wipe my face again. I rubbed it raw
before I left Clown Alley, but somehow I still don't believe it's clean. I don't think any part of me will
ever be clean again. And the worst part is that I don't even know what I did. I have only snippets,
and as horrifying as those are it's even more horrifying not knowing what happened in between. I
reach inside the dressing gown and scratch my stubbly balls
.
(Jacob Jancowski “Water for Elephants" by Sara Gruen. 2006)
3Narrative Elements: 1. POV
▪ Second Person POV -refers to at least one character directly as
“you”, suggesting that the audience is a character within the story.
▪ This is a common type of narrative point of view for popular music
lyrics (in which the narrator often directly “speaks” to another
person) and certain types of poetry, though it is quite rarely found in
novels or short stories.
▪ In some cases, a narrator uses the second person, rather than the
usual first person, to refer to her- or himself, thus providing an
alienated, emotional, or ironic distance.

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 “Take one pint of water, add a half pound of sugar, the juice of eight lemons, the
zest of half a lemon. Pour the water from one jug then into the other several times. Strain
through a clean napkin.
Grandmother, the alchemist, you spun gold out of this hard life, conjured beauty
from the things left behind. Found healing where it did not live. Discovered the antidote in
your own kit. Broke the curse with your own two hands. You passed these instructions down
to your daughter who then passed it down to her daughter.
…You've brought the orchestra, synchronized swimmers.
You're the magician. Pull me back together again, the way you cut me in half. Make the
woman in doubt disappear. Pull the sorrow from between my legs like silk. Knot after knot
after knot. The audience applauds ... but we can't hear them.”
(Words performed by Beyonce for “All Night,” HBO Presents: Lemonade, 2016)
3Narrative Elements: 1. POV

Third Person POV uses the pronouns “he”, “she”, “it”, or “they”, to make it
clear that the narrator is not a character of any kind within the story.
• Traditionally, third-person narration is the most commonly used narrative
mode in literature.
• It allows a story to be told without detailing any information about the
teller (narrator) of the story.
• Instead, a third-person narrator is often simply some disembodied
“commentary” or “voice”, rather than a fully developed character.

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 “Tom appeared on the sidewalk with a bucket of whitewash and a long-handled brush.
He surveyed the fence, and all gladness left him and a deep melancholy settled down upon his spirit.
Thirty yards of board fence nine feet high. Life to him seemed hollow, and existence but a burden.
Sighing, he dipped his brush and passed it along the topmost plank; repeated the operation; did it
again; compared the insignificant whitewashed streak with the far-reaching continent of un-
whitewashed fence, and sat down on a tree box discouraged. Jim came skipping out at the gate with
a tin pail, and singing Buffalo Gals. Bringing water from the town pump had always been hateful work
in Tom‟s eyes, before, but now it did not strike him so. He remembered that there was company at
the pump. White, mulatto, and negro boys and girls were always there waiting their turns, resting.
trading playthings, quarrelling, fighting, skylarking.”
(The Narrator, “Tom Sawyer” by Mark Twain, 1876)
3Narrative Elements: 1. POV

Alternating Person POV is known as the hybrid of any of the first three
mentioned view points.
• While the general trend is to adopt a single point of view throughout the
novel’s entirety, some authors have experimented with other points of
view that, between different narrators who are all first-person, or
alternate in any of first, second, and a third person narrative perspective.

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 “I, Ishmael, was one of that crew; my shouts had gone up with the rest; my oath had been
welded with theirs; and stronger I shouted, and more did I hammer and clinch my oath, because of the
dread in my soul. A wild, mystical, sympathetical feeling was in me; Ahab‟s quenchless feud seemed mine.
With greedy ears I learned the history of that murderous monster against whom I and all the others had
taken our oaths of violence and revenge.
For some time past, though at intervals only, the unaccompanied, secluded White Whale had
haunted those uncivilized seas mostly frequented by the Sperm Whale fishermen. But not all of them knew
of his existence; only a few of them, comparatively, had knowingly seen him; while the number who as yet
had actually and knowingly given battle to him, was small indeed. For, owing to the large number of whale-
cruisers; the disorderly way they were sprinkled over the entire watery circumference, many of them
adventurously pushing their quest along solitary latitudes, so as seldom or never for a whole twelvemonth
or more on a stretch, to encounter a single news-telling sail of any sort; the inordinate length of each
separate voyage; the irregularity of the times of sailing from home; all these, with other circumstances,
direct and indirect, long obstructed the spread through the whole world-wide whaling-fleet of the special
individualizing tidings concerning Moby Dick.”
(Ishmael, “Moby Dick" by Herman Melville, 1851)
 The subject appeared to interest the gentleman deeply; for while Mr. Shelby was thoughtfully
peeling an orange, Haley broke out afresh, with becoming diffidence, but as if actually driven by the force of truth
to say a few words more.
“It don‟t look well, now, for a feller to be praisin‟ himself; but I say it jest because it‟s the truth. I
believe I‟m reckoned to bring in about the finest droves of niggers that is brought in,—at least, I‟ve been told so;
if I have once, I reckon I have a hundred times,—all in good case,—fat and likely, and I lose as few as any man
in the business. And I lays it all to my management, sir; and humanity, sir, I may say, is the great pillar of my
management.”
Mr. Shelby did not know what to say, and so he said, “Indeed!”
“Now, I‟ve been laughed at for my notions, sir, and I‟ve been talked to. They an‟t pop‟lar, and they
an‟t common; but I stuck to „em, sir; I‟ve stuck to „em, and realized well on „em; yes, sir, they have paid their
passage, I may say,” and the trader laughed at his joke.
There was something so piquant and original in these elucidations of humanity, that Mr. Shelby
could not help laughing in company. Perhaps you laugh too, dear reader; but you know humanity comes out in a
variety of strange forms now-a-days, and there is no end to the odd things that humane people will say and do.
(The Narrator, “Uncle Tom’s Cabin" by Harriet Beecher Stowe, 1852)
What type of POV is used in the
following excerpts?
3Narrative Elements: 2. Narrative Voice (Stream of Consciousness,
Character Voice, Unreliable Voice, Epistolary, 3rd Person Objective, 3rd Person Subjective, or 3rd Person Omniscient)

2. Narrative Voice - describes how the story is

conveyed: for example, by “viewing” a character's thought
processes, reading a letter written for someone, retelling a
character’s experiences, etc.
a. Stream of Consciousness is used if a narrator is also a
character within his or her own story. Frequently, the narrator is
the protagonist, whose inner thoughts are expressed to the
audience. Examples include Offred’s often fragmented thoughts
in Margaret Atwood’s The Handmaid's Tale and James Joyce’s
Ulysses.

40
 “She remembered once throwing a shilling into the Serpentine. But every one
remembered; what she loved was this, here, now, in front of her; the fat lady in the cab. Did it
matter then, she asked herself, walking towards Bond Street, did it matter that she must
inevitably cease completely; all this must go on without her; did she resent it; or did it not
become consoling to believe that death ended absolutely? but that somehow in the streets of
London, on the ebb and flow of things, here, there, she survived, Peter survived, lived in each
other, she being part, she was positive, of the trees at home; of the house there, ugly,
rambling all to bits and pieces as it was; part of people she had never met; being laid out like
a mist between the people she knew best, who lifted her on their branches as she had seen
the trees lift the mist, but it spread ever so far, her life, herself.”
(Virginia Woolf, Mrs. Dalloway, 1925)
3Narrative Elements: 2. Narrative Voice (Stream of Consciousness,
Character Voice, Unreliable Voice, Epistolary, 3rd Person Objective, 3rd Person Subjective, or 3rd Person Omniscient)

b. Character Voice is one of the most common

narrative voices in which a conscious “person”
is presented as the narrator.
• Also known as First POV Peripheral, the
narrator is a more relatable, realistic
character who is involved in the actions of the
story. This include Dr. Watson in Sir Arthur
Conan Doyle’s Sherlock Holmes Scout in Harper
Lee’s To Kill a Mockingbird, and Nick Carraway
of F. Scott Fitzgerald’s The Great Gatsby.
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 "Gatsby, he had a grand vision for his life since he was a boy. No amount of
fire could challenge the fairy tale he had stored up in his heart. He had an extraordinary
sense of hope but I had the uneasy feeling that he was guarding secrets. It had gone
beyond her. It had gone beyond everything.“
(Nick Carraway, The Great Gatsby). F. Scott Fitzgerald. 1925
 c. Unreliable Voice involves the use of a untrustworthy
narrator. This mode gives the audience a sense of disbelief
or suspicion or mystery. This lack of reliability is often
developed by the author to demonstrate that the narrator is
in some state of psychosis.
Examples include Edgar Allan Poe’s The Tell-Tale
Heart, Nelly Dean in Emily Bronte’s Wuthering Heights, Holden
Caulfield in J.D. Salinger’s The Catcher In The Rye, Stark in
Michael Marshall Smith’s Only Forward, Humbert Humbert in
Vladimir Nabokov’s novel Lolita, and John Dowell in Ford
Madox Ford’s The Good Soldier.
 “I loved the old man. He had never wronged me. He had never
given me insult. He thought of me as a friend, I treat him as a father. We had
always treated each other with the sincerest kindness... but it was his eye. He
had the eye of a vulture. A dull blue, with a hideous veil over it. Whenever it
fell upon me, my blood ran cold. It chilled the very marrow in my bones. It
haunted me day and night. Gradually, very gradually, I made up my mind. I
must rid myself of the eye.”
(The Narrator, The Tell Tale Heart). Edgar Allan Poe. 1843
 d. Epistolary Voice uses a series of letters and other documents to
convey the plot of the story. Some other works of epistolary voice have
no narrator at all, only the author who has gathered the documents
together in one place. Famous examples include Mary Shelley's
Frankenstein, Bram Stoker's Dracula, Pierre Choderlos de Laclos’s Les
Liaisons dangereuses (The Dangerous Liaisons), and Langston Hughes’s
Passing.
 THE WESTMINSTER GAZETTE, 25 SEPTEMBER A HAMPSTEAD MYSTERY The neighborhood
of Hampstead is just at present exercised with a series of events which seem to run on lines parallel to those of
what was known to the writers of headlines as „The Kensington Horror,‟ or „The Stabbing Woman,‟ or „The
Woman in Black.‟ During the past two or three days several cases have occurred of young children straying from
home or neglecting to return from their playing on the Heath. In all these cases the children were too young to
give any properly intelligible account of themselves, but the consensus of their excuses is that they had been
with a „bloofer lady.‟ It has always been late in the evening when they have been missed, and on two occasions
the children have not been found until early in the following morning. It is generally supposed in the
neighborhood that, as the first child missed gave as his reason for being away that a „bloofer lady‟ had asked
him to come for a walk, the others had picked up the phrase and used it as occasion served. This is the more
natural as the favourite game of the little ones at present is luring each other away by wiles.
e. Third Person Objective Voice employs the use of “fly-
on-the-wall” or “camera lens” approach as a narrator tells
only a story without describing or interpreting thoughts,
opinions, or feelings; instead, it gives an objective,
unbiased point of view.
• This narrative mode is also called third-person
dramatic because the narrator, like the audience of a
drama, is merely an uninvolved onlooker.
• This type is often used by newspaper articles,
biographical documents, and scientific journals.
• A typical example of this perspective is Hills Like White
Elephants by Ernest Hemingway.
 Nancy‟s bedroom was the smallest, most personal room in the house—girlish, and as frothy
as a ballerina‟s tutu. Walls, ceiling, and everything else except a bureau and a writing desk, were pink or
blue or white. The white-and-pink bed, piled with blue pillows, was dominated by a big pink-and white
Teddy bear—a shooting-gallery prize that Bobby had won at the county fair. A cork bulletin board, painted
pink, hung above a white-skirted dressing table; dry gardenias, the remains of some ancient corsage, were
attached to it, and old valentines, newspaper recipes, and snapshots of her baby nephew and of Susan
Kidwell and of Bobby Rupp, Bobby caught in a dozen actions—swinging a bat, dribbling a basketball,
driving a tractor, wading, in bathing trunks, at the edge of McKinney Lake (which was as far as he dared go,
for he had never learned to swim). And there were photographs of the two together—Nancy and Bobby.
Nancy Clutter, “In Cold Blood”. Truman Capote. 2013
f. Third Person Subjective Voice conveys the thoughts,
feelings, opinions, etc. of one or more characters.
• Also known as third person limited, the reader is
“limited” only to a particular character like the first-
person mode, except it uses the pronouns “he”,
“she”, “it”, and “they.”
• Examples include, Gabriel in James Joyce’s The Dead,
Nathaniel Hawthorne’s Young Goodman Brown, and
Santiago in Ernest Hemingway’s The Old Man and the
Sea.
 A breeze ruffled the neat hedges of Privet Drive, which lay silent and tidy under
the inky sky, the very last place you would expect astonishing things to happen. Harry Potter
rolled over inside his blankets without waking up. One small hand closed on the letter beside
him and he slept on, not knowing he was special, not knowing he was famous, not knowing he
would be woken in a few hours' time by Mrs. Dursley‟s scream as she opened the front door to
put out the milk bottles, nor that he would spend the next few weeks being prodded and
pinched by his cousin Dudley... He couldn't know that at this very moment, people meeting in
secret all over the country were holding up their glasses and saying in hushed voices: "To
Harry Potter -- the boy who lived!"
Harry Potter, “Harry Potter and the Sorcerer’s Stone”. J.K. Rowling. 1997
g. Third Person Omniscient Voice is presented by a
narrator seeing and knowing everything that happens
within the world of the story.
• Two advantages of omniscience is it enhances reliability
(i.e. truthfulness) of the plot and eases complicated
stories, involving numerous characters.
• However, using this mode increases the distance
between the audience and the story, thus reducing the
reader’s ability to sympathize with the characters.
• Classic examples of this are J. R. R. Tolkien’s The Lord
of the Rings, Leo Tolstoy’s Anna Karenina, Louisa May
Alcott’s Little Women, George Orwell’s 1984.
 Hester Prynne—yes, at herself—who stood on the scaffold of the pillory, an
infant on her arm, and the letter A, in scarlet, fantastically embroidered with gold thread,
upon her bosom. Could it be true? She clutched the child so fiercely to her breast that it
sent forth a cry; she turned her eyes downward at the scarlet letter, and even touched it
with her finger, to assure herself that the infant and the shame were real. Yes these were
her realities—all else had vanished!
In Mr. Dimmesdale‟s secret closet, under lock and key, there was a bloody
scourge. Oftentimes, this Protestant and Puritan divine had plied it on his own shoulders,
laughing bitterly at himself the while, and smiting so much the more pitilessly because of
that bitter laugh. It was his custom, too, as it has been that of many other pious Puritans,
to fast—not however, like them, in order to purify the body, and render it the fitter medium
of celestial illumination—but rigorously, and until his knees trembled beneath him, as an
act of penance.
The Narrator, “Scarlet Letter”. Nathaniel Hawthorne. 1850
2.NARRATIVE VOICE
Stream of Consciousness,
Character Voice, Unreliable Voice
Epistolary, 3rd Person Objective, 3rd Person
Subjective, or 3rd Person Omniscient

,
3Narrative Elements: 3. Narrative Time
3. Narrative Time - determines the grammatical tense of the
story, meaning whether it is presented as occurring before, during, or after
the time of narration: i.e., in the past, present, or future.
 Past Tense involves events of the plot occurring before the time at which
the narrative was constructed or expressed to an audience or before the
present moment.
• This is by far the most common tense in which stories are expressed.
• The narrator who uses past tense has three possible roles, either the
protagonist, the witness, or reteller of the story.

55
3Narrative Element: Narrative Time

 Present Tense narrates events of the plot occurring now — at

the current moment — in real time.
• In English, this tense, also known as the historical present. It
is more common in spontaneous conversational narratives
than in written literature, though it is sometimes used in
literature to give a sense of immediacy of the actions.
• A recent example of novels narrated in the present tense are
those of Suzanne Collins’ the Hunger Games trilogy

56
3Narrative Element: Narrative Time

 Future Tense is the most rare, portraying the events

of the plot as occurring some time after the present
moment, in a time-period yet to come.
• Often, these upcoming events are described such that
the narrator has foreknowledge ( or supposed
foreknowledge) of the future, so many future-tense
stories have a prophetic tone.

57
D. SETTING AND ATMOSPHERE

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Let’s Get Started
Imagine your favorite place in your house. Using
your senses, complete the chart below.
Description
Revisiting Setting

• A story creates its own world- a setting

• It’s a great challenge to put justice in describing and narrating the
places involved in the story being written or told- building up that trust
and credibility as the narrator of the story.
 Revisiting Atmosphere
• Tone and Mood are arguably two of many binary
devices that are often confused with one another
• Both pertain to the atmosphere, emotions, or “feel”
of a style in writing or any particular genre
• tone generally refers to the attitude of the persona
or writer towards his/ her subject matter, which
could be optimistic/ positive, pessimistic/ negative,
or neutral,
• whereas mood describes what the readers have felt in
a piece of writing.
• Both are important aspects to consider in setting a
clear, realistic, and descriptive atmosphere that will
bring the readers to this world.
Revisiting Atmosphere
Revisiting Atmosphere
E. IMAGERY AND FIGURES OF SPEECH

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IMAGERY
 Revisiting Imagery

Imagery is a literary technique that refers to the use of vivid

descriptions that arouse one’s senses.
• This is one particular element that makes poetry
different from prose: sensory emotions to express the
persona’s emotions.
• It is vital to employ imagery, symbolism, and figures of
speech in order to make one’s narration or exposition
interesting.
FIGURES OF SPEECH
68
Let’s Get Started
REBUS time! Determine what’s the saying based
on the given word picture puzzles.

Be Inspired Diamond Ring Diamond in

the Rough
Let’s Get Started
REBUS time! Determine what’s the saying based
on the given word picture puzzles.

Time is up Ice Cube Center of Gravity

Let’s Get Started
REBUS time! Determine what’s the saying based
on the given word picture puzzles.

I understand Easy as Pie Horseback Riding

Let’s Get Started
REBUS time! Determine what’s the saying based
on the given word picture puzzles.

Banana Split Just Between You Separated at

And Me Birth
 Principles, Elements, Techniques, and
Devices
Let’s Get Started
REBUS time! Determine what’s the saying based
on the given word picture puzzles.

Bucket List Sunrise Bad Intentions

 Principles, Elements, Techniques, and
Devices
Let’s Get Started
REBUS time! Determine what’s the saying based
on the given word picture puzzles.

Rubik’s Cube No Excuse Love at First Sight

 Principles, Elements, Techniques, and
Devices
Let’s Get Started
REBUS time! Determine what’s the saying based
on the given word picture puzzles.

Keyboard
Feedback
Thank you.
Thank You.
 Anak, Freddie Aguilar
Noong isilang ka sa mundong ito Di mo man lang inisip na
Laking tuwa ng magulang mo Ang kanilang ginagawa'y para sa iyo
At ang kamay nila ang iyong ilaw Pagkat ang nais mo'y
At ang nanay at tatay mo'y Masunod ang layaw mo
Di malaman ang gagawin Di mo sila pinapansin
Minamasdan pati pagtulog mo
At sa gabi'y napupuyat ang iyong nanay Nagdaan pa ang mga araw
Sa pagtimpla ng gatas mo At ang landas mo'y naligaw
At sa umaga nama'y kalong ka Ikaw ay nalulong sa masamang bisyo
Ng iyong amang tuwang-tuwa sa iyo At ang una mong nilapitan
Ang iyong inang lumuluha
Ngayon nga ay malaki ka na At ang tanong,"anak, ba't ka nagkaganyan"
Ang nais mo'y maging malaya At ang iyong mga mata'y biglang lumuha ng di mo
Di man sila payag napapansin
Walang magagawa Pagsisisi at sa isip mo'y
Ikaw nga ay biglang nagbago Nalaman mong ika'y nagkamali
Naging matigas ang iyong ulo Pagsisisi at sa isip mo'y
At ang payo nila'y sinuway mo Nalaman mong ika'y nagkamali
 Gaudette. E. (2016). Power Ranking the Best Science Documentary Narrators of All
Time. Posted in Inverse. Retrieved on April 27, 2017 from
https://www.inverse.com/article/10137-power-ranking-the-best-science-documentary-
narrators-of-all-time
Literary Devices Editors. (2013). Epistolary. Retrieved on May 3, 2017, from
https://literarydevices.net/epistolary/
McCracken J. (2011). The Oxford English Dictionary (Online ed.). Oxford University
Press. Retrieved on April 29, 2017
Mmckible. (2010).The Dramatic Arc. Posted in Matt’s Gamer Blog. Retrieved on
April 26, 2017 from https://mmckible.wordpress.com/2010/09/21/the-dramatic-
arc/
Sicoe, V. (2013). My Ultimate POV Guide – With Graphics And Examples. Posted in
Veronica Sicoe Blog. Retrieved on April 28, 2017 from
http://www.veronicasicoe.com/blog/2013/03/my-ultimate-pov-guide-with-graphics-
and-examples/
TASKS
Task 1. Plot
82
 Bohemian Rhapsody, Queen
Is this the real life? Mama, ooh, didn't mean to make you cry,
Is this just fantasy? If I'm not back again this time tomorrow,
Caught in a landslide, Carry on, carry on as if nothing really
No escape from reality. matters.
Open your eyes,
Look up to the skies and see, Too late, my time has come,
I'm just a poor boy, I need no sympathy, Sends shivers down my spine,
Because I'm easy come, easy go, Body's aching all the time.
Little high, little low, Goodbye, everybody, I've got to go,
Any way the wind blows doesn't really Gotta leave you all behind and face the
matter to me, to me. truth.
Mama, just killed a man,
Mama, ooh (any way the wind blows),
Put a gun against his head,
I don't wanna die,
Pulled my trigger, now he's dead.
I sometimes wish I'd never been born at
Mama, life had just begun,
all.
But now I've gone and thrown it all away.

https://www.youtube.com/watch?v=uCVD
d0wMYXk
I see a little silhouetto of a man, Bismillah! We will not let you go. (Let me go!)
Scaramouche, Scaramouche, will you do Will not let you go. (Let me go!)
the Fandango? Never, never let you go
Thunderbolt and lightning, Never let me go, oh.
Very, very frightening me. No, no, no, no, no, no, no.
(Galileo) Galileo. Oh, mama mia, mama mia (Mama mia, let me go.)
(Galileo) Galileo, Beelzebub has a devil put aside for me, for me, for me.
Galileo Figaro
Magnifico-o-o-o-o. So you think you can stone me and spit in my eye?
So you think you can love me and leave me to die?
I'm just a poor boy, nobody loves me. Oh, baby, can't do this to me, baby,
He's just a poor boy from a poor family, Just gotta get out, just gotta get right outta here.
Spare him his life from this monstrosity.
(Ooooh, ooh yeah, ooh yeah)
Easy come, easy go, will you let me go? Nothing really matters,
Bismillah! No, we will not let you go. (Let Anyone can see,
him go!) Nothing really matters,
Bismillah! We will not let you go. (Let him Nothing really matters to me.
go!) Any way the wind blows.