NORTHERN ILOILO POLYTECHNIC STATE

COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

SECONDARY EDUCATION DEPARTMENT

INSTRUCTIONAL MODULE
ELECTIVE 2
STYLISTICS AND
DISCOURSE
Prepared by:
PROF. SHARON O. CALIMPONG, LPT, MAT
ASST. PROF. 11

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 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT
SECONDARY EDUCATION DEPARTMENT

INSTRUCTIONAL MODULE
ELECTIVE 2
STYLISTICS AND
DISCOURSE
MODULE I - LESSON I

MEANING, NATURE AND

GOALS OF STYLISTICS
TOPIC
 NORTHERN ILOILO POLYTECHNIC STATE
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STYLISTICS AND DISCOURSE

Course Description:

This course is a language and style course that will help the learners in
exploring primarily literary texts (prose, poetry, and drama) and acquiring research-
based knowledge and skills in stylistic analysis. Moreover, it focuses on the
relationship between style and stylistics using stylistic devices and an explanation on
how language creates meaning and effect. Therefore, they will be able to develop
critical and higher-order thinking skills in reading and literary studies for students
while employing the conceptual framework and schema of linguistics and literature.

Course Content:

Module 1 – An Overview of Stylistics

Lesson 1 – Meaning, Nature and Goals of Stylistics
 NORTHERN ILOILO POLYTECHNIC STATE
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AJUY CAMPUS
Ajuy, Iloilo
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Module 1 – An Overview of Stylistics

Lesson 1 - Meaning, Nature, and Historical Perspective of Stylistics
Time Allotment: 9 hours
I. Introduction

Stylistics combines style and linguistics as an approach to critiquing texts on

linguistics and literature and developing critical and higher-order thinking skills.
In this lesson, you shall be introduced to an overview of Stylistics. You shall
also be exposed to the meaning, nature and goals of Stylistics.

II. Learning Outcomes:

At the end of this module, you must have:

A. defined stylistics and style;

B. discussed the meaning, nature, and historical aspects of Stylistics;
C. showed appreciation by creating a graphic organizer on the discussion
about Stylistics.

III. Learning Content: The Nature and Goals of Stylistics

Today, you are going to learn about the nature and goals of Stylistics.

Meaning of Stylistics
Stylistics is defined as the study of style used in literary and verbal language
and the effect writer or speaker intends to convey to the reader or hearer. It aims at
establishing principles which can explain the particular choices made by individual
and social groups in their use of language, such as socialization, the production or
reception of meaning, literary criticism and critical discourse analysis.
It is the study of the ways in which meaning is created through language,
literature and non-literature. Stylistics uses linguistic models, theories, and
frameworks as analytical tools. describes and explains the working of a text
It explains how meaning is created from the words on the page.
Its analysis focuses qualitatively or quantitatively on the levels of
language such as phonological, lexical, grammatical, semantic,
pragmatic or discourse features of text and cognitive aspects involved
in the processing of those features by the reader.
It emphasizes that the production of meaning needs to be accounted
for as a double exercise encompassing text informed inferences as
well as the mental processes that allow text comprehension.
It is a method of textual interpretation in which primary place is
assigned to language; often regarded as a linguistic approach to
literature

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It is engaged in various fields, and expanded to include within its scope
non- fictional forms such as advertising, academic writing, news reports
as well as non-printed forms such as TV, pictorial advertising, film and
multimodal publications.
It is characterized by an informed, systematic and contextual analysis,
which is rigorous, consistent and verifiable.
It is the study of language of literature which makes use of various
tools of linguistic analysis

Stylistics is mainly concerned with the idea of “style” and the analysis of
literary texts. The application of linguistics to the literary texts and the „style‟ is
usually understood within this area of study as the selection of certain linguistic
forms or features over other possible ones.

Nature of Stylistics

The term Stylistics‟ is derived from the word style‟ which has several
meanings. Its pre-linguistic meaning is the manner of writing, speaking and doing. It
is the means through which human beings gain contact with others.

It is applied to the study of language in literary and non-literary texts.

It deals with the relationship between the language of literature and the
meaning of literature
Its analysis focuses on the thematic aspects of literature by analyzing
its language.
Its analysis can not be absolutely objective as it can be influenced by a
myriad of factors such as the stylisticians‟ individual preferences and
foci, linguistic paradigm employed for analysis or the chosen
methodology.
It is interdisciplinary in scope as it brings together linguistics and
literary studies.
It claims to be eclectic by liberally allowing views from disciplines of
philosophy, cultural theory, sociology, history, and psychology to
further stylistic analysis of literature.
It depends more on the linguistic evidence in the text for its
interpretations of literature.
It studies some special features of literature and tries to show their
poetic significance.
It depends on systematic observation, classification and description of
the language of literature.
It offers the precise and demonstrable analysis of any piece of creative
writing as to make explicit why, what, or how it moves the reader or
the
hearer.

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establishes a concrete link between the signifier and the signified, in

other words, between form and message and helps one in the
understanding of the meaning in its totality .

Historical Perspectives

Stylistics emerged as a discipline of serious study in the twentieth century.

Primarily, literary critics focused on the nuances of language use by writers rather
than discussing literature from the point of view of their own feelings, or the writer’s
presumed intentions, or abstract aesthetic qualities, or mere moral judgments .

Before the 20th century three major movements can be identified in the
evolution stylistics as a discipline.
Rhetorical Stylistics
Aesthetic Stylistics
Individualistic Stylistics
A. Rhetorical Stylistics
The origin of the concept of style or the early attempt to study style
can be traced back to the classical school of rhetoric, which regards
style as a part of the technique of persuasion and discusses it under
oratory.
This discipline was a set of rules and strategies which enable orators ‘to
speak well’; in other words to use language that is fully decorated with
all the figures and tropes to bring about changes in the feelings and
opinions of the audience.
Rhetoric, Dialectic, and Poetics
B. Aesthetic Stylistics
Renaissance scholars, compare style to flowers, jewels, embroidery. For
Samuel Wesley, it is a ‘dress of thought’. Pope describes stylistics as
the equivalent of ‘true wit’, which consists in ‘what oft was thought, but
never so well expressed’ and other definition as well. All these
definitions or descriptions reflect an artificial and ornamental view of
style.
Gradually, such a discipline expanded from rhetoric to incorporate other
linguistic discourses (genres).
They concentrated their literary efforts on elements such as diction,
metaphors, images and symbols, utilized for embellishing the subject
matter of a given piece of literary work.
That is, great importance was given to the choice and artistic
arrangement of words. In this sense, such a practice is seen as
aesthetic stylistics as it is ornamental in its approach. It is an
extension, which asserts the dogma that sees the special use of
language as ‘the dress of thought.’
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C. Individualistic Stylistics
There is a revival of Cicero’s conception of style as “an expression of
personality.” (Atkins 1952: 31). This way of entertaining the language
of literature is known as individual stylistics.
In turn, this tendency stimulated linguists to entertain the different,
individual uses in literary discourse - the way in which a writer
expresses himself. The study of language variations was then
accentuated by the emergence of modern linguistics in the late 19th
century and the beginning of the 20th century
Stylistics after 20th Century
Under the impetus of certain theoretical developments in Russia and Europe,
Stylistics has seen the following trends in 20th Century.
Expressive Stylistics
Psychological Stylistics
Formalist Stylistics
New & Practical Criticism informed Stylistics
Reader-response Stylistics

A. Expressive Stylistics
At the turn of 20th century, language studies triggered the birth of a
new discipline, which stands in direct opposition to the approaches that
sees literature as the outcome of the extrinsic properties of historical,
cultural and biographical factors to the exclusion of the linguistic form.
It is Charles Bally, a Geneva linguist whose work in stylistics
developed out of a Saussurian thought, who gave the impetus to such
systematic studies with the publication of his Traité de Stylistique.
Bally stresses on the role of expressiveness in language and the
function of language in interaction as they have the task of
communicating thought.
In Bally, emphasis is placed primarily on the choices of ‘emotive and
expressive’ elements of language
The affective and expressive qualities are achieved by “a judicious
choice in the lexicon and, to a lesser degree, in the syntax; the two
types of effects possess forms that are identical with respect to the
expression of thought but have different affective expressivity.” (Ducrot
& Todorov 1979: 76).

B. Psychological Stylistics
Inspired by the works of Charles Bally, Leo Spitzer, a practitioner of
modern stylistics, initiated a new line of stylistic enquiry. He developed
a new stylistic approach, which accounts for the habitual uses and
 NORTHERN ILOILO POLYTECHNIC STATE
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choices made by the author.
AJUY It is an approach which establishes
CAMPUS
correlation between the style
Ajuy,ofIloilo
a literary work and the psyche of the
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According to Spitzer, by studying the stylistic properties, one can grasp

the worldview of the author. He postulates that: ‘The only way,’ to
discover the inner traits ‘is to read and reread, patiently and
confidently, in an endeavor to become, as it were, soaked through and
through with the atmosphere of the work.’ Then, ‘suddenly, one word,
one line stands out,’ making ‘the characteristic click ... which is the
indication that detail and whole have found a common denominator.’
(Spitzer 1967: 27).

C. Formalist Stylistics
In the second decade of the 20th century, another alternative to the
study of literary language which emerged as a reaction to the more
prescriptive or mechanistic exercises is known as the Russian
Formalism.
This movement revolutionized against the traditional, romantic trends
in the study of literature. Distrustful of all the previous theories of
language, the formalist method emphasized that the study of language
should confine itself to the explication of the formal linguistic features
of a literary text.

Formalistic Stylistics: A Linguistic Approach

In other words, the proponents of this movement take the poetic
language as the object of their inquiry; the text and only the text
should be considered, and no other considerations of social, historical,
ideological or biographical approaches are entertained.
‘The locus of the peculiarly literary,’ Erlich 1981 states, ‘was to be
sought not in the author’s or reader’s psyche but in the work itself.’
The Formalist movement, Harkins (1951: 178) asserts, was:
dissatisfied with the hegemony of the neogrammarian approach in
linguistics and with prevailing eclecticism in literary theory.
Such eclecticism had led to the study of literature by a number of
different disciplines, philosophy, psychology, sociology, philology,
cultural history, etc., each of which imposing its methods on literary
scholarships, had found that literature was only a reflection of its own
content.

Formalist Stylistics: Concepts

Defamiliarization
Shklovsky, views literature as the totality of the formal devices
employed in a work of art. He also expressed the independence of the
literary language in his article ‘Art as Technique’ where he announced
the term of ‘defamiliarization’ or ‘making strange’ as a key concept and
 NORTHERN ILOILO POLYTECHNIC STATE
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a manifesto in literary theory as the principle in the function of art ‘is to
AJUY CAMPUS
make people aware of the Ajuy,
worldIloilo
in a fresh way.’ (Peer 1986: 1).
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Automatization & Foregrounding

Havránek also believes that the standard language has different
functions to perform: intellectualization, automatization and
foregrounding, each of which is determined by linguistic devices which
are generated by the purpose or function of the utterance. The two
worthy contrastive qualities in the use of language in this functional
differentiation are: automatization and foregrounding.
Automatization refers to the use of linguistic devices for a
communicative, informative purpose without any attempt to attract the
attention as the social greetings, for example.
Foregrounding, on the other hand, means the use of foregrounded,
linguistic devices that make the expression stand out as uncommon
such as the poetic expression, as can be found in E.E Cumming’s
‘Danced His Did.’
Functional Style (Parole) and Functional Language (Langue)
Standard Language and Poetic Language
Mukarovsky (1964) asserts, in his influential work ‘Standard
Language and Poetic Language,’ that the poetic use of language,
unlike the standard language, manifested by the foregrounding
devices has to deautomatise perception and hence achieve surprise:
Foregrounding is the opposite of automatization, that is, the
deautomatization of an act; the more an act is automatized, the less
it is consciously executed; the more it is foregrounded, the more
completely conscious does it become.
Functions of Language
Jakobson, the major representative of the Prague circle, argues
in his most influential paper, ‘Linguistics and Poetics’ that:
Poetics deals primarily with the question, What makes a verbal
message a work of art? Because the main subject of poetics is
the differentia specifica of verbal art in relation to other arts and
in relation to other kinds of verbal behavior, poetics is entitled to
the leading place in literary studies (1960: 350) (Poetics, in this
context, refers to stylistics).
According to Jakobson (1960), there are numerous factors
involved in any linguistic act and which are central to the
successful achievement of a message and without which a
message is incomplete. These numerous factors are set towards:
the addresser, the addressee, message, context, code, and
contact.
 NORTHERN ILOILO POLYTECHNIC STATE
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That is, these factors
AJUYcorrespond
CAMPUS to the six functions which
language performs in anyIloilo
Ajuy, successful communicative act. Each of
which stands dominant
SECONDARY EDUCATION if the emphasis is placed upon one of the
DEPARTMENT
linguistic functions and similarly determines ‘the verbal structure
of a message.’
6

D. New & Practical Criticism informed Stylistics

These method is concerned exclusively with the description of

the literary texts particularly poetry. It is a kind of close reading,
similar to the French Explication De Texte, where the critic
makes a claim about the theme or effect of the text and then
quotes a word, a line or a passage to strengthen his argument.
The names most associated with the movement are Cleanth
Brooks, John Crowe Ransom, and I.A Richards.
New critical school derives its theoretical background from the
textbased approach known as Practical Criticism, advocated by I.
A. Richards (1924, 1929), whose doctrine accentuating the
significance of the language of the text over its author in the
study of literary works. These two movements, though almost
identical in theory, are different in approach whereas New
Criticism is of a descriptive nature as it concerns itself with
describing texts, Practical Criticism is of a psychological
background for its search of the psychological effects drawn from
the readers interacting with the text.

E. Reader-Response Stylistics
Riffaterre argues that the poetic message resides in the
impression created by the reader whose role is neglected in such
studies.
Therefore, he sees style not as an objective reality conveyed by
linguistic structures but as an impression subjectively
constructed in the mind of the addressee (reader).
His argument is that: “the literary phenomenon is a dialectic
between text and reader.” (1978: 1). And any purely linguistic,
structural description of style will pass no distinction between the
stylistic and the linguistic aspects of a message
According to Riffaterre, any analysis of style should pay attention
not only to the text but to ‘the whole act of communication’ of
which the reader is an essential constituent. Stylistics, Riffaterre
defines, as that which: studies the act of communication not as
merely producing a verbal chain, not as bearing the imprint of
the speaker’s personality, and as compelling the addressee’s
attention.
To delineate the stylistic devices, Riffaterre argues, the feedback
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of the reader hasAJUY
to beCAMPUS
taken to full consideration. In other
words, the analysis Ajuy,
of a literary
Iloilo text and its stylistic devices
cannot be dissociated from
SECONDARY EDUCATION DEPARTMENT the reader’s response.

IV. Assessment:

Answer the following questions:

1. How is stylistics analysis related to linguistics? Answer in not less than ten
sentences. Each sentence is equivalent to two points.

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2. How is stylistics analysis related to literature? Answer in not less than ten
sentences. Each sentence is equivalent to two points. You may use the back portion
of this page.

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AJUY CAMPUS
Ajuy, Iloilo
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V. Enrichment:

Research on the meaning of style and its functions.

References:
1. Nordquist, R. (2019). Stylistics and elements of style in literarute.
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https://www.thoughtco.com/stylistics-language-studies-1692000
AJUY CAMPUS
Retrieved: August 18, 2020
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

Module 2 - What is Style?

Time Allotment: 7.5 hours
I. Introduction

Style in its general sense is “a way of doing things” and is used in multiple
contexts.
In this lesson, you shall be introduced to the meaning of Style. You shall also
be exposed to the meaning, nature and goals of Stylistics.

II. Learning Outcomes:

At the end of this module, you must have:
A. discussed the meaning of style;
B. differentiated contexts and devices and means of style in language and
literature;
C. showed appreciation by creating a graphic organizer on the discussion
about Stylistics.

III. Learning Content: The Nature and Goals of Stylistics

Today, you are going to learn about style, its norm, individual and
functional style.

Meaning of Style
Style has been variously defined according to its orientation in the writer’s
personality, the impressions of the reader, an individual text, and the collective
features of a genre.
Style is a quality of language which communicates precisely emotions or
thoughts or a system of them peculiar to the author.
Style is the description and analysis of the variability forms of linguistic
items in actual language use.
Style is a contextually restricted linguistic variation (Enkvist)
Style is a selection of non-distinctive features of language(Bloomfield)
Style is simply synonymous with form or expression (Benedetto Croce)
Archibald Hill states that style is defined as “structures, sequences and
patterns which extend or may extend beyond the boundaries of
individual sentences
For Seymour Chatman it is a product of individual choices and the
patterns of choices among linguistic possibilities
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Werner Winter claimed that
AJUYthe style may be characterized by a pattern
CAMPUS
of recurrent selections from theIloilo
Ajuy, inventory of optional features of a
language.
SECONDARY EDUCATION DEPARTMENT
In summary: Style is a set of characteristics by which we distinguish one
author from another.
Style is regarded as something that belongs exclusively to the plane of
expression and not to the plane of content.
10

The Different Functions of Style

A. Style as a Choice
Choice is a very vital instrument of Stylistics as it deals with the
variations and the options that are available to an author. Language provides its
users with more than one choice in a given situation. There are different choices
available to the writer in a given text, depending on the situation and genre, the
writer chooses in expressing thoughts and opinions.
The writer’s choice reflects his ego and the social ethos of his times.
The paradigmatic and the syntagmatic axes are two significant
choice planes available to the writer so as to determine the
appropriate choice of linguistic elements.
The paradigmatic axis is referred to as the vertical or choice axis.
The vertical axis gives a variety of choices between one item and
other items and then the writer chooses the most appropriate word.
The paradigmatic axis is able to account for the given fillers that
occupy a particular slot while still maintaining the structure of the
sentence.
Example: A writer or speaker can choose to use either of the words:
start, commence, go, proceed
The syntagmatic is the horizontal or choice axis.

B. Style as the Man

Style as the Man is based on the notion that every individual has his or
her own unique way of doing things and that no two persons bear the same
character. These are distinctive features that distinguish one person from the
other.
In literary style, is possible to differentiate between the writings of
Shakespeare and Jane Austen based on their use of language among
other things.
A person’s style is also governed by his social and political
background, religious inclination, culture, education, geographic
location etc.
The notion of style as man views style as an index of personality. But
this is problematic

C. Style as Deviation
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When an idea is presentedAJUYin an unnatural way, then it has deviated
CAMPUS
from the norm. style as deviation is based
Ajuy, Iloilo on the notion that there are rules,
conventions SECONDARY
and regulations that
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the different activities to be
executed.
When conventions are not complied with, there is deviation.
Deviation is concerned with the use of different styles from the
expected norm of language use in a given genre of writing.
It is a departure from the norm and common practice.

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Language deviation refers to an intentional selection or choice of

language use outside the range of normal language.
Deviation may occur at phonological, graphological, syntactic,
lexico-semantic level.
For graphological level, one may see capital letters which they are
not supposed to be.
For lexicogrammaticall level, subject and verb may not be in
agreement.
The normal order of the clause elements may not be observed.
At the lexico-semantic level, words that should not go together may
be deliberately brought together, e.g. “dangerous safety‟, “open
secret‟.

D. Sty le as Conformity
Style as conformity is the first available option for a writer to express
himself at all possible fields that a written material can belong to have been
established. Any style that is distinct is due to deviation. The idea of “style as
choice‟ operates on the notion of “style as conformity‟ and then brings out
the possibility of style as deviation. The writer primarily needs to decide
whether to conform to the established style or to deviate. The writers do not
have flexibility to deviate in all circumstances.
is often strictly enforced in certain fields or circumstances
a case especially in academic/education field particularly in
students‟ research projects.
is also found in some professional writings, where a considerable
conformity to the established format or diction is expected.
One major weakness of conformity to the established style is that it
suppresses creativity to some extent.
When a text accommodates or infuses some creativity in the style,
it becomes marked as deviation from the norm.

E. Style as a Period/Time
Style as related to period /time make use of course of language. Since
language is dynamic and ever changing, English language use in
particular was different during the time of Shakespeare. Old English was
written in different syntax, vocabulary, and spelling. Even the modern English
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has variations. This means thatAJUYtheCAMPUS
types of English used today is different
from Shakespearean English. Ajuy, Iloilo
As SECONDARY
language changes along
EDUCATION time axis, so is style.
DEPARTMENT
A period usually dictates the style employed by the writers.
Every period has its own set of style.
The noticeable convention and pattern of language use that inform
the usage of a particular period make the style of that period.

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F. Style as a Situation
Language is used according to situation or circumstance. Context
determines language choice in speaking or writing. Certain words are
appropriate for certain occasions, while the same are considered taboo,
vulgar or abominable. For instance, a Professor, in a scholarly conference,
cannot indulge in Vulgarism.
A given situation has great influence on the choice made at every
level of language description.
The concept of register further reinforces this point.
Registers as aspect of style seem to be associated with particular
groups of people or sometimes specific situations of use, e. g.
Journalese, Legalese, literature, Baby-talk, the language of sport
commentaries, the language of criminals-argot, the language of
the classroom, courtroom, etc.

The Norm
The norm is regarded as the invariant of the phonemic, morphological, lexical
and syntactical patterns circulating in language-in-action at a given period of time.
Norm is a regulator that controls the set of variants
Its most characteristic and essential property is flexibility
The norm may be perceived and established only when there are
deviations from it.
All rules and patterns of language collected in the textbooks on
grammar, phonetics and lexicology first appear in language–in-
action where they are generalized, then framed as rules and
patterns of language-as-a-system.

Individual Style
Individual style implies the peculiarities of a writer’s individual manner of
using language means to achieve the effect he desires. It is a unique combination
of language units, expressive means and stylistic devices peculiar to a given writer,
which makes that writer’s work easily recognizable. Alexander Block once said that
the style of a writer is so closely connected with the content of his soul that the
“experienced eye can see the soul through his style.”
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Selection, or deliberate choice of language, and the ways the
AJUY CAMPUS
chosen elements areAjuy,
treated
Iloilo are the main distinctive features of
individual style
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Idiolect is the speech of any individual, which is characterized
by particular elements that reveal his breeding and education.

The components of individual style are the following:

composition of phrasal units
rhythm and melody of utterances
system of imagery
preference for definite stylistic devices and their correlation with neutral
language media 13

interdependence of the language means employed by the author and those

characteristic to his personages

Functional Style

Functional style (FS) is defined as a system of interrelated language means

which offers a definite purpose of communication. FSs are mainly use in the literary
standard of a language as the product of its development.
Each FS may be characterized by a number of distinctive features
though at the same time each FS is perceived as a single whole
FSs are subdivided into a number of substyles/varieties of language
each of which has a peculiar set of features of its own.
Varieties are differentiated according to the actual situation of
communication
There are two varieties of language:
A. The spoken variety of language is used in the presence of an
interlocutor, usually it is maintained in the form of a dialogue.
1. Spoken variety is remarkable for the extensive use of the
potential hidden in the human voice.
2. The spoken language is by its very nature spontaneous,
momentary and fleeting. It cannot be detached from the users of the
language.
B. The written variety presupposes the absence of an
interlocutor and exists in the form of a monologue.
1. Written language has to seek means to compensate this
disadvantage. That is why it is more diffuse, explanatory, characterized
by careful organization and deliberate choice of words and
constructions.
2. The written language, can be detached from the writer and
thus be preserved in time.
FSs are sometimes called registers or discourses. In the English literary
standard we distinguish:
the language of belles-lettres
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the language of publicistic literature
AJUY CAMPUS
the language of press/media Ajuy, Iloilo
the languageSECONDARY
of scientific prose
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the language of official documents

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IV. Learning Assessment:

A. In not less than five (5) sentences, explain the following terms:

1. Compare Style as a Norm and Style as a Conformity. Explain in not less than ten
(10) sentences.

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2. Contrast Style as a Norm and Style as a Conformity. Explain in not less than ten
(10) sentences.

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
___________________________________________________________________
AJUY CAMPUS
___________________________________________________________________
Ajuy, Iloilo
___________________________________________________________________
SECONDARY EDUCATION DEPARTMENT
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

15

B. Identify what function of Style is represented in each item below. Select from the
list of the different styles.
Style as a: Choice, Period, Man, Deviation, Conformity, and Situation

__________1. jargons
__________2. Generation X words
__________3. use of APA format in documentation
__________4. deafening silence
__________5. Petrarchan sonnet
__________6. A writer may utilize any of the words like pretty, lovely, charming.
__________7. use of small letters for proper nouns
__________8. uniformity in margins
__________9. Shakespearean years
__________10. Follows a certain format in writing especially in research.
__________11. slang
__________12. The milleneal spelling
__________13. Words should be appropriate for certain occasions.
__________14. same format
__________15. choosing appropriate words
__________16. The American way
__________17. A writer’s options in writing
__________18. A writer’s style is reflective of his education and culture.
__________19. Non-agreement in subject and predicate
__________20. uniform font size and font styles
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

16

V. Enrichment Activity:

Look for a poem that shows the following:

1. A poem that displays conformity

2. A poem that exhibits deviation

Copy the poem and don’t forget to write the name of the poet/poetess.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

VI. References:
1. Nordquist, R. (2019). Stylistics and elements of style in literarute.
https://www.thoughtco.com/stylistics-language-studies-1692000
Retrieved: August 18, 2020
17

Module 3 – Denotative vs. Connotative, Lexical vs. Stylistic Meaning

Time Allotment: 7.5 hours

I. Introduction
In stylistics, particularly in literary stylistics, the meaning of words is very
important for it carries different shades when used in different literary genres
In this lesson, you shall be introduced to the different levels of stylistics
devices and meaning.

II. Learning Outcomes:

At the end of this module, you must have:
A. discussed the different stylistic devices and meaning;
B. differentiated denotative from connotative and lexical from stylistic
meaning;
C. written statements using the denotative, connotative, and lexical meaning.

III. Learning Content: Denotative vs. Connotative, Lexical vs. Stylistic Meaning

Today, you are going to learn some Stylistic devices and their meaning

Denotative vs. Connotative

Meaning, for Vugodsky is a unity of thinking, generalization, and

communication. The meaning of a word is liable to historic changes, which is
responsible for the formation of an expanded semantic structure of a word.

In stylistics meaning is a category capable of acquiring new aspects imposed

on the words by the context. Such meanings are called contextual. It also deals
with meaning that have fallen out of use. In stylistics it is important to discriminate
shades of meaning, its components called semes ( the smallest units of meaning).
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
Meaning can also be viewed in terms
AJUY of information theory. A word renders
CAMPUS
primary (denotative) and additionalAjuy, (connotative)
Iloilo information that is ascribed
to it in different contexts. The first kind of information
SECONDARY EDUCATION DEPARTMENT only denotes a realia existing
in an objective plane while the second kind reflects the emotive plane of the word
usage. If a word has only connotative meaning it is stylistically neutral: e.g. a child
may be called tenderly or teasingly monkey- face, honey bum, sugar plum, cookie
while taken in isolation or in another context the same words have absolutely
different meaning.

Denotative Meaning
The denotative meaning of word/s is a direct specific meaning as distinct
from an implied or associated idea. It represents the explicit or referential meaning
of a sign.
18

It is the strict dictionary meaning or the literal meaning of a word. The denotative
meaning may be of two types: demonstrative and significative. It is demonstrative if
it makes reference to an actively existing individual thing. This means that besides
denoting a concrete thing, action or notion, the word may also carry a connotation,
an overtone. It is significative if the word evokes a general idea of an object or
phenomenon.

Examples:
1. Take a pill to ease your headache. (The word pill literally refers to medicine)
2. Sunshine brightens my day. (The word sunshine in a specific meaning refers to
the warmth and light given by the sun’s rays.)

Connotative Meaning
Connotative meaning on the other hand, deals with or reflects the attitude of
the interlocutors to what is being said and to the conditions of communication. It
represents the various social overtones, cultural implications, or emotional meanings
associated with a sign. This information refers to emotive, expressive, evaluative
and functional components of human speech. Connotative meaning is the suggesting
of a meaning by a word apart from the thing it explicitly names or describes.

Examples:
1. She is the pill for my heartache. (The word pill in this case suggests somebody
who will surely ease the heartache of the speaker. It is not literary a medicine.)
2. My children are my sunshine. (The word sunshine in this statement refers to the
children as the source of warmth and light for the speaker and does not literally
refers to the sun’s rays.

Connotative meaning may be of 4 types:

1.functional (reflecting the sphere of usage of the word)
Emotive plane
2.evaluative (positive, negative or neutral)
3.emotive (rendering the attitude of the speaker) Connotative
meaning
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
4.expressive (containing an image of pragmatic
AJUY value)
CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT
WORD

Denotative
Meaning

19
Objective Plane

Lexical Meaning
Lexical meaning is defined as the meaning of a base or root word without
considering any prefix or suffix which may be attached. It is the meaning of a base
in a paradigm, apart from any meaning it may acquire as part of a sentence. Lexical
meaning is relatively stable and usually carries a conjugation or the schematic
arrangement of the inflectional forms of a verb. Lexical meaning also differs from
grammatical meaning that refers the mind to the relations between words or to
some forms of words or constructions bearing their structural functions in the
language-as-a system.

Examples:
1. the meaning of walk in conjugations walks/walked/walking
2. the meaning of port in the words import and portable

Stylistic Meaning
Stylistic meaning describes the formal features of texts for their own sake and
in order to show their functional significance for the interpretation of a text.

Stylistic meaning as distinguished from lexical one, which is representing

primary information, is based on the secondary (additional) information. It denotes
the features which are adherent (ascribed) to the object while lexical meaning
renders inherent features that cling to a word as a permanent part of it. Stylistic
meaning is liable to change as it is affected by extralinguistic factors.

Example:
1. I will never go to that place again. ( The words never, go, place, again have
stylistic meaning while I, will, to have grammatical or structural meaning only.)
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

20

IV. Learning Assessment

A. Read the sentences carefully. Then identify whether the underlined word/s or
phrase/s present/s a denotative, connotative, or lexical meaning. Mark D if the
statement exhibits denotative meaning, C for connotative, or L for lexical meaning.
Write your answer on the space provided before each number.

___1. He lives through the bottle.

___2. Betty sings a heart-breaking song.
___3. The security guard inspected the cargo.
___4. Trina wears Victoria’s Secret.
___5. The heat of the sun is too much to bear.
___6. Shane is the tigress of the sisters.
___7. That lady speaks French.
___8. The abandoned building is so creepy.
___9.The volcano roared in anger.
___10. My children are my strength.
___11. Rita is shaking in anger.
___12. I give you my heart.
___13. She plays the piano well.
___14. Chris left with a heavy heart.
___15. Tanya exported her native bags.

B. Each statement below exhibits a connotative meaning. Provide the

suggested/implied meaning of each sentence.

1. He waited for an eternity.

2. Gino’s mind is like a sponge.
3. Your pen is your sword.
4. My body blazes with my ambition.
5. This is the month of June pouring a toast into a glass.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
6. Our vision clears in our weeping. AJUY CAMPUS
7. She is the lady with an iron hand. Ajuy, Iloilo
8. Tina seems to carry the weight ofEDUCATION
SECONDARY the world. DEPARTMENT
9. Peter is a man from rags to riches.
10. He meant the whole world to her.
11. You are my angel in disguise!
12. My heart broke when my pet died.
13. Jess is imprisoned in the world of darkness.
14. He took my heart when he left.
15. She turned in to a monster because of her problems.

21

V. Enrichment Activity

A. Write five sentences for the denotative, connotative, and lexical meaning:

Denotative
1._________________________________________________________________2
._________________________________________________________________3.
______________________________________________________________
4.______________________________________________________________
5.______________________________________________________________

Connotative
1.________________________________________________________________
2.________________________________________________________________
3._________________________________________________________________
4._________________________________________________________________
5._________________________________________________________________

Lexical
1._________________________________________________________________
2._________________________________________________________________
3._________________________________________________________________
4._________________________________________________________________
5._________________________________________________________________

B. List down ten (10) verbs with their conjugations.

Ex. Sing – sings/sang/sung
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

VI. References

1. Nordquist, R. (2019). Stylistics and elements of style in literature.

https://www.thoughtco.com/stylistics-language-studies-1692000
Retrieved: August 18, 2020
2. Stylistic Lexicology. (2010). Uastudent.com
Retrieved: August 18, 2020
22

Module 4 - Expressive Means and Stylistic Devices. Expressiveness

and Emotiveness
Time Allotment: 7.5 hours
I. Introduction
There are certain terms in stylistics that need to be dealt with thoroughly.
These terms have significant contributions on the effectiveness of a text’s meaning,
In this lesson, you shall be introduced to the different terms and meaning of
expressive means, stylistics device, expressiveness and emotivenesss and meaning.

II. Learning Outcomes:

At the end of this module, you must have:
A. discussed expressive means, stylistic devices, expressiveness, and
emotiveness;
B. identified expressive means, stylistic devices, expressiveness and
emotiveness in famous paragraphs and classical lines;
C. appreciate the role of these terms/stylistic devices in language and
literature by making a collage of stylistic devices, expressive means,
expressiveness and emotiveness from famous sentences and classical
lines.

III. Learning Content: Expressive Means and Stylistic Devices. Expressiveness and
Emotiveness
Today, you are going to learn some Stylistic devices and their meaning,
expressive means; expressiveness and emotiveness.
In linguistics there are different terms to denote particular means by which
the utterance is made effective imparting some additional information: EMs, SDs,
stylistic markers, tropes, figures of speech etc. All of them are set against the so-
called neutral means. All language units bear some grammatical and lexical
meanings and some of them have a specific meaning to the previous one, which
may be called stylistic.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
Expressiveness in etymologicalAJUY sense
CAMPUS is a kind of intensification of the
utterance (or a part of it). It should Ajuy,not
Iloilobe confused with the category of
emotiveness that reveals emotions
SECONDARY EDUCATIONof the writerDEPARTMENT
or a speaker – by not directly
manifesting their emotions but by echoing real feelings, designed to awaken co-
experience on the part of the reader. Expressiveness is broader than emotiveness
and cannot be reduced to the latter, which is the part of expressiveness and
occupies a predominant position in it.
Expressiveness Emotiveness
Mr. Smith was an extremely unpleasant Isn’t she cute!
person.
Never will he go to that place again. Fool that he was!
In rushed the soldiers This goddam window won’t open!
It took us a very, very long time to This quickie tour did not satisfy our
forget. curiousity.
23

Expressive means are those phonetic, morphological, word-building, lexical,

phraseological, syntactical forms, which exist in language-as-a-system for the
purpose of logical or emotional intensification of the utterance.
Phonetic is the most powerful expressive means because the human voice
can indicate subtle nuances of meaning that no other means could convey.
Parameters of speech as pitch, melody, stress, pausation, drawling out, whispering
and sing-song manner are studied by phonetics.
Morphological EM (expressive means) are studied by grammar or
morphological stylistics and include stylistic possibilities of the categories of number,
Historical Present, “shall” in the 2 or 3 person, demonstrative pronouns, verbals,
etc.
Lexical EM or word-building comprise a great many word-forms rendering
stylistic meaning with the help of different affixes: e.g. diminutive suffixes – dearie,
sonny, auntie, streamlet. At the lexical level expressiveness can also be rendered
by the words possessing inner expressive charge - interjections, epithets, slang and
vulgar, poetic or archaic words, set phrases, idioms, catchwords, proverbs and
sayings.
At the syntactical level there are many constructions, which may reveal
certain degree of logical or emotional emphasis. In order to distinguish between an
EM and a SD one should bear in mind that EMs are concrete facts of language.
Stylistics studies EMs from a special angle, it investigates the modification of
meaning which various EM undergo when they are used in different functional styles.
Stylistic device is a conscious and intentional intensification of some typical
structural and/or semantic property of a language unit (neutral or expressive)
promoted to a generalized status thus becoming a generative model. Stylistic
devices display an application of 2 meanings: the ordinary one (already established
in language-as-a-system) and a special – imposed on the unit by the author (or
content), a meaning, which appears in language-in-action. SDs carry a greater
amount of information and require a certain effort to decode their meaning and
purport. SDs must be regarded as a special code, which has to be well known to the
reader to be deciphered easily.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

24

IV. Learning Assessment

A. Interpret the following text in not less than three (3) sentences.

1. Woman without her man is nothing.

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

2. Woman, without her, man is nothing.

___________________________________________________________________

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

3. Woman without her man, is nothing.

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

4. Let’s eat, grandmother!

___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
5. Let’s eat grandmother! Ajuy, Iloilo
___________________________________________________________________
SECONDARY EDUCATION DEPARTMENT
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________

25

B. Identify what the following Filipino signages, store or shop names indicate.
Example: Farmacia with Love – pharmacy ; Felix the Cut – Barber shop

1. Petal Attraction
2. Fish Fill It
3. Second Time Around
4. Dish Is Eat
5. Summa Cum Laundry
6. Mane Attraction
7. Ma Pa Spa Ta
8. Easy Comp, Easy Go
9. Heavenly Rest
10. Touch Me Nails

V. Enrichment Activity`

Make a collage of famous sentences or lines from different literary or classical texts.
Then put an emoji that represents the feeling or emotion attached to your famous
sentences or classical lines.

VI. References
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
1. Flore, J. P. Introduction to stylistics. Ppt.CAMPUS
AJUY
Ajuy, Iloilo
2. Sachkova, E. V. (2012). Lectures on English stylistics.
SECONDARY EDUCATION DEPARTMENT

26

Module 5 - Elements of Fiction

Time Allotment:9 hours
I. Introduction
Literature features human experiences and nourishes people’s emotional lives.
Its varied literary genres mirror how characters struggle over obstacles thus,
sharing with the readers/learners its relevance in the teaching-learning process.
In this module, you shall be exposed to the nature of fiction and its different
types and elements.

II. Learning Outcomes:

At the end of this module, you must have:
A. identified the different elements of fiction;
B. identified the different types of fiction;
C. shared insights on how fiction reflects life.

III. Learning Content: Elements of Fiction

Today, you are going to learn about the different elements of
fiction. For your better understanding of the these elements here are the
following:

A. Character/s is the representations of a human being.; persons

involved in a conflict, animals, plants, inanimate objects like robots, natural and
supernatural beings that possess life and give life to the story
readers come to know the characters through what they say, what
they think, and how they act.
There are five ways of revealing literary characters:
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
What the characters do AJUY
alongCAMPUS
with the circumstances in which they do
it? Ajuy, Iloilo
How the characters are described?
SECONDARY EDUCATION DEPARTMENT
What the characters say and think?
What other characters say about them?
What the author says about them?

There are also varied types of characters that a story can have.
1. Protagonist is the character whom the story revolves. He/She is the
hero/heroine of the story. He/She is traditionally or conventionally an
outstanding character with good traits.
Example: Beowulf

27

Antihero or antiheroine is unconventionally a notorious character

with bad traits such as a hoodlum. An example of this character is
Robin Hood.
2. Antagonist is a character who is opposed to the protagonist; this
character may be a major (main/leading) or a minor (supporting) one.
3. Confidant is a character upon whom the protagonist confides or relies for
support. An example is the fairy godmother in the Cinderella story.
4. Foil is one who serves as a contrast to the protagonist or any other
character in the story, but does not necessarily oppose the latter.
5. Background character is one who provides reality to the story but his or
her mere presence. An example is the doctor and the nurse in a hospital
scene.
6. Unseen/Absent character is a character who is mentioned in the story
but does not have any involvement in the series of actions or in the dialogue.
7. Dynamic character is one who changes his/her personality as the story
progresses. An example of this character is Francesca or Kikay in Marcelino
Agana Jr.’s “New Yorker in Tondo.”
8. Static character is a character who remains the same kind of person as
the story unfolds.
9. Round character is someone who shows varied and sometimes
contradictory traits. AN example is the philosopher in Dr. Jose Rizal’s Noli Mi
Tangere, Pilosopo Tasyo.
10. Flat character is a character who shows only one personality trait. Again
Pilosopo Tasyo of Dr. Jose Rizal’s Noli Mi Tangere is an example.
11. Stereotype is a flat character of a familiar and often repeated type, for
example, a mad scientist and his confidant oftentimes humpbacked and
grotesque-looking.
If writers write about characters outside their own culture, they need to
do research so as not to misrepresent a particular culture. The same is also
true of characters, who have illnesses. The writer may need to research the
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
illness and treatment for it in order
AJUY to be accurate about it.
CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT
B. Setting is the locale (place) or period (time) in which the
action of a short story, play, novel, or motion picture takes place (also known as the
background of the story).
Setting is of two types:
A. The physical setting is where the story takes place. The “where” can
be very general—a small farming community, for example—or very
specific—a two story white frame house at 326 Rizal Street, Iloilo City.
B. The chronological setting is the “when” of the story. It can be
general – everyday, night time; or specific – Sunday, at three o’clock in
the afternoon.

28

These are also indications of the setting which include the following:
The immediate surroundings of the characters or the physical
surroundings which the characters interact such as props in a scene:
trees, furniture, food, inside of a house or car, etc.
The time of day such as morning, afternoon, or night.
The weather such as cloudy, sunny, windy, snow, or rain, etc.
The time of year, particularly the seasons: fall, winter, summer, spring.
The historical period such as what century or decade the story takes
place.
The geographical location including the city, state, country, and
possibly even the universe, if the writer is writing science fiction
It also includes the ideas, customs, values, and beliefs of a particular
time and place.
Setting can function as a main force that the characters encounter, such as a
tornado or flood, or a setting can play a minor role such as setting the mood. Often
times, the setting can reveal something about the main character as he/she
functions in that place and time period.
Writers write about places they are familiar with. If they aren’t familiar with
the place, then they need to research it in order to be accurate about the place
Local Color is described as local scenery, the writer uses words, mentions
things in the native language, gives names to character’s lines to create a
vivid picture of a native place.

C. Plot is the order or sequence of events in the story. The plot

usually follows a particular structure called Freytag’s Pyramid. Gustav Freytag, a
German playwright who lived during the 1800s, identified this structure.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
Freytag’s Pyramid has five parts: exposition, rising action, climax, falling
AJUY CAMPUS
action, and denouement, also known asAjuy,
resolution.
Iloilo
SECONDARY EDUCATION DEPARTMENT

Freytag’s Pyramid by Gustav Freytag, a German playwright

29

Types of Plot
1. Linear Plot chronologically shows events in their proper order from exposition
to conclusion which is true to most fairy tales, fables, folk tales, myths, and
legends.
2. In Media Res is a plot which starts in the middle of the story and provides
flashback (events which took place prior to the story’s initial action) to promotes
readers understanding of the story.
3. Circular Plot the plot which is structured in such a way that it ends where it
started as in a cycle.
4. Narrative Order is called the sequence of events. It has three types:
1. Chronological is the most common type of narrative order.
2. Flashback occurs when the author narrates an event that took place
before the current time of the story.
3. Time lapse occurs when the story skips a period of time that seems
unusual compared to the rest of the plot.

The Structure of a Plot

Exposition (beginning) is an introduction to the characters, time, and the
problem. At the point where exposition moves into rising action a problem,
sometimes called an inciting incident, occurs for the main character to handle
or solve. This creates the beginning of the story.
Rising incidents/action includes the events that the main character
encounters. Each event, developed in separate scenes, makes the problem
more complex. This leads to complication.
Complication is the part of the plot in which the conflict develops.
Crisis is the problem in the story.
Climax is the turning point in the story or the highest point of the story.
Usually, it is a single event with the greatest intensity and uncertainty. The
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
main character must contend with the problem at this point. The readers
AJUY CAMPUS
know how the conflict should be resolved.
Ajuy, Iloilo
DenouementSECONDARY
or resolutionEDUCATION
provides closure to the story. It ties up loose
DEPARTMENT
ends in the story. It is the part of the plot in which the conflict is resolved.
Falling incidents/action includes the events that unfold after the climax;
and leads to the conclusion. This usually creates an emotional response from
the reader. It gives the readers or audience a sense of completion, with the
various unsettled issues at work within the plot reaching some state of
resolution.
Conclusion is the last part of the plot which gives the story some finality;
however, when a story ends with a cliffhanger, the reader is the one who
gives a conclusion.

Qualities of the Plot

Exciting. It should be exciting than the everyday reality that surrounds you.

30

Good structure. The episodes must be arranged effectively. The most

important element of plot structure is tying all the incidents together that
one leads naturally to another.
Plot Devices
Flashback is something out of chronological order to reveal information and
to understand a character’s nature
Foreshadowing is a device that gives a sign of something to come. Its
purpose is to create suspense to keep the readers guessing what will happen
when.
D. Conflict is the struggle between two entities. It is synonymous with opposition.
It is the motivating driving force that involves both characters and readers in the
narrative. There is a conflict if there is a struggle which grows out of the interplay
of opposing forces (ideas/interest).
In story writing the main character, also known as the protagonist,
encounters a conflict with the antagonist, which is an adversary.

Kinds of Conflict:
1. Social or Interpersonal Conflict is a conflict which exists between the
protagonist and the antagonist. It pits the protagonist against someone else.
Character vs. character or person-against-person
Example: Fortunato vs. Montressor in Edgar Allan Poe’s The Cask of
Amontillado
2. Physical Conflict is the conflict which exists between the protagonist and any of
the natural forces (water, earth, wind, and fire as well as disease)
Character vs. nature or natural forces
Example: Louis Roubien vs. flood in Emile Zola’s The Flood
3. Metaphysical Conflict exists between the protagonist and supernatural beings
or forces (deities, fairies, vampires, werewolves, witches, leprechauns, elves
and the like)
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
Character vs. God AJUY CAMPUS
Example: Odysseus versus the wrath of the gods in Homer’s Odyssey
Ajuy, Iloilo
4. Internal/Personal/Psychological
SECONDARY EDUCATIONexists
Conflict between the protagonist and
DEPARTMENT
his/her own self; this is especially true when the character is in a state of
dilemma, during which he/she is faced with two or more alternatives
Character vs himself or herself
Example: Hamlet vs. himself in Shakespeare’s Hamlet
5. External Conflict happens when the protagonist is in conflict with the values of
his or her society
Character vs. society or culture
Examples: Mario vs. society in Alberto Florentino’s The World is an Apple
Hester Prynne vs. society in Nathaniel Hawthorne’s The Scarlet
Letter

31

E. Point of View (POV) is the angle of narration which refers to “who is the
narrator” and “how is the narration done”.
Classification of Point of View (POV)

Autobiographical/First Person POV

First-person point of view means that the central character or one of
the major/minor characters in the story will narrate–give an account–of the
story. The narrator may be the protagonist, the main character. Writing in
first-person point of view brings the readers closer to the story. They can read
it as if they are the character because personal pronouns like I, me, my,
we, us, and our are used.

Third Person Point of View

Third-person point of view means that the narrator is not in the story.
The third-person narrator is not a character. Third-person point of view can be
done three ways:
1. Omniscient Third Person POV
The narrator is an all-knowing and all-seeing observer who tells
everything (speech, actions, thoughts, and emotions) about the
characters.
2. Objective Third Person POV
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
The narrator is anAJUY
objective
CAMPUS observer who reports only the
speech (what he hears) and theIloilo
Ajuy, actions (what he sees) of the
characters.
SECONDARY EDUCATION DEPARTMENT
3. Selective/Limited Third Person POV
The narrator is both an omniscient and an objective observer
Third-person limited means that the narrator limits himself/herself by
being able to be in one character’s thoughts.  Whereas, third-person
omniscient means the narrator has unlimited ability to be in various
character’s thoughts.  Writing in third-person point of view removes
readers from the story because of the pronouns he, she, it, him, her,
his, hers, they, them, and theirs.

F. Theme is not the plot of the story. It is the underlying truth that is being
conveyed in the story. It is the central or dominating idea in a literary work. It is the
topic or subject of the selection, which is sometimes stated by a character or by the
writer himself but sometimes, it is merely implied or suggested.
Themes can be universal, meaning they are understood by readers no matter
what culture or country the readers are in. Common themes include coming of age,
circle of life, prejudice, greed, good vs. evil, beating the odds, etc.

Note: The theme is not some familiar saying or moral lesson.

32

G. Tone refers to the attitude of the writer toward his subject. It may be
communicated through the words used and may evoke an emotional response in the
reader; words used may convey sarcasm, love, hatred, fear, delight, respect, and so
on.

H. Mood (synonymous with tone) refers to the feeling that an author creates in a
literary work. It is also synonymous with atmosphere. Mood refers to the quality of a
setting, such as somber or calm.

I. Moral is a practical lesson about right and wrong conduct contained in a

narrative. It is stated directly in fables, but it is usually implied in other stories.
Example: Too much greed for wealth and power is often a man’s downfall.

J. Symbols/Symbolisms stand for a person, a place, a thing, or an experience

that represent something else. They bring to mind not their own concrete qualities,
but the idea or obstruction that is associated with them.
Examples: black - evil or death
broken mirror – separation
day- beginning, good, opportunities
fire – danger, anger, passion, love, pain, death
water – baptism, purification
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
red rose – love and romance
AJUY CAMPUS
dove - peace Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

33

IV. Assessment:

A. Identify the elements of fiction reflected in the following statements below. Write
your answer on the space provided

__________ 1. At Mila’s office, there are two desks; one near the door, and one
near the window. The desk near the window id Mila’s desk.
__________ 2. Howell is in his late 20s. A Chemistry assistant professor, very fat
and a gay.
__________ 3. Prelude to Act IV prepares the audience for the failure of the King
to recognize his wife. Prelude to Act VI shows that the King’s lost
ring was found by a fisherman.
__________ 4. Shakuntala failed to receive with respect the visiting sage Durvasas
which led to the latter’s pronouncement of the curse on the lovesick
maiden.
__________ 5. “I’m sorry this has to be done. I am really sorry.”
__________ 6. Evil will never triumph over good.
__________ 7. Over the island the build-up of cloud continued. A steady current of
heated air all day from the mountain and was thrust to ten
thousand feet; revolving gases piled up the static until the air was
ready to explode. (Golding, Lord of the Flies)
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
__________ 8. Tony, disguised as an AJUY man,
old CAMPUS glanced at a newspaper’s headline;
a man who murdered aAjuy, famous
Iloilo businessman was still at large.
__________ 9. Mama was a woman of few words.
SECONDARY EDUCATION DEPARTMENT Like my father, she grew up
during the war, and being a child of two survivors, one simply
learned toilet stories that are untold remain so. (Sison, Insert Her
Silence Here)
___________ 10. Humility and self-sacrifice are vital to living a fuller life.
___________ 11. She did not ask them to sit. She just stood in the door and
listened quietly until the spokesman came to a stumbling halt.
(Faulkner, A Rose for Emily)
__________ 12. The flood rose higher and higher, and the people run for their lives
thinking of nothing but to survive the deluge.
__________ 13. The story unravels the struggles of Tom and how he was able to
overcome the obstacles he met along his journey home. These
physical and internal struggles Tom went through had prepared
him and made him a tough person that he is now. Finally coming
home was the most rewarding gift he had ever received in his
whole life. Now, he is home.
__________ 14. Inem was my friend. She was eight, two year older than I was.
She was just like all other girls, except that she was thought to be
rather pretty. (Toer, Inem)
__________ 15. Too much greed is man’s greatest downfall.

34

B. Identify the type of conflict manifested in the following sentences below

___________1. She looked at him sharply, feeling the malice in his voice. “I’ll do it
for anyone,” she said and turned away angry and also ashamed, as though he had
found out suddenly that the ruffles on her dress rested on a flat chest (The Virgin by
Kerima Polotan-Tuvera).
___________2. The water was within a yard of the roof. It was losing its tranquility;
currents were being formed. In less than an hour the water became threatening,
dashing against the house, bearing drifting barrels, pieces of wood, clumps of weeds
(The Flood by Emile Zola).
__________3. “Never in my 22 years of existence did I feel I was beautiful. I am
flawed. I am imperfect. I used to question God for the way He created me. I used to
ask if He was half-asleep , perhaps, even drank when He was molding me”
(“Unpretty” by Khatrina Bonagua).
__________4. Terror reigned in Lanka. Fiercely fought battles ensued, in which
even the gods took part-Vishnu and Indira taking sides with Rama, and the evil
spirits fighting with Ravana (excerpts from Ramayana).
__________5. “You know it Lumnay, don ‘t you? You have been a good wife. It’s
only that a man must have a child. Seven harvests is just too long to wait. We
should have another chance before it is too late for us. This is the law of our tribe”
(The Wedding Dance by Amador Daguio).
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
__________6. Taeng did not complain, AJUYbutCAMPUS
the bearing of children told on her. She
was shapeless and thin now, even if sheAjuy,wasIloilo
young. There was interminable work to
be done. She cried sometimes,
SECONDARY wishing she had notDEPARTMENT
EDUCATION married. She did not tell Dodong
this, not wishing her to dislike her. Yet she wished she had not married (Footnote to
Youth by Jose Garcia Villa).
__________7. When the dragon found out that the cup has been stolen, it left its
cave and burned up everything in sight. Beowulf killed the dragon with Wiglaf’s help
but Beowulf died from the wounds he has received (Beowulf).
__________8. “I hated the thing growing in my womb. I hated the things taking
place in my body. But more than all that I hated the shame I know will be mine. I
hated the thought of being an unwed mother” (First Fruits by Elsa Coscolluela).
__________9. “He plagiarized for his thesis. I was the one who told his panelists.
He plagiarized my dissertation. My very own son, a plagiarist. I couldn’t stomach it.
I even told his panelist that I’d understand if he got expelled” (The Adopted baby by
Layeta Buoy).
__________10. Finally, the woman raised her hand and slapped him full hard in the
face. With her other hand she slapped him on the other side of the face again
(Magnificence by Estrella Aljon).

35

V. Enrichment:
A.
For your writing activity, write two sentences for each topic below, making a ten-
sentence introduction in creating your storyline. Please refer to the topics below:
Place: Circus

Character: Grandfather

Time: Morning

Activity: Walking

Mood: Sad
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

36

B. Read the short story “Three Generations” by Nick Joaquin. Identify the different
elements of fiction used in the story. Please be specific with your answers.

Example: 1. Characters:
A. Francisco – Protagonist – Dynamic character – farmer
B. Berto – Antagonist – Round character – store manager
2. Setting – physical – restaurant; chronological – Monday evening
3. Plot : Identify the type and structure of plot and fill in with needed
details from exposition to conclusion
4. conflict, etc.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

VI. References:

1. Ang, J. (2009). Kritika: Selected readings in Philippine literature from pre-colonial

to post EDSA:Manila. MINDSHAPERS CO., INC.
2. Elements of Fiction. Retrieved from http://cstl cla.semo.edu/hhecht/The
%20Elements%20of%20Fiction.htm last September 12, 2020
3. Menoy, J. Z. (2014). Philippine literature for today’s generation: A thematic
approach: Mandaluyong City. Books Atbp. Publishing Corp.
4. SyGaco, S.(2017). Writing techniques in creative nonfiction: Quezon City. Great
Books Trading
37

Module 6 – Poetry
Time Allotment: 9 hours
I. Introduction
Poetry is the language of the heart. It is the language that says more and
beyond the ordinary language. It brings music to the soul and creates beauty and
magic to life. For T. S. Elliot, “poetry is the fusion of two poles of mind, emotion, and
thought.”
In this module, you shall be introduced to the different elements and
characteristics of poetry, and its analysis. You will also get acquainted with the
famous contemporary poets and poems.

II. Learning Outcomes:

At the end of this module, you must have:
A. identified the meaning, types, different elements and characteristics
of poetry;
B. read and analyzed contemporary poems;
C. recited some contemporary poems/written a poem.

III. Learning Content: Elements of Fiction

 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
Today, you are going AJUYto learn
CAMPUS about the meaning, types, different
elements and characteristics of poetryAjuy,
and Iloilo
how to do an analysis of some famous
pieces. SECONDARY EDUCATION DEPARTMENT
Poetry and Its Forms
Every poem is an expression of human sentiments, sometimes happy,
sometimes bitter, sometimes casual.
Numerous poets have different views on poetry. For Wordsworth, “it is the
spontaneous overflow of powerful feelings.” For Edgar Allan Poe, “it is the rhythmic
creation of beauty.” Dylan Thomas thinks that “Poetry is what makes me laugh or
cry or yawn, what makes my toenails twinkle, what makes me want to do this or
that or nothing” (cited from SyGaco, 2017).
For Marjorie Evasco, a Filipino poet (cited from SyGaco, 2017), “Poems tell
stories, paint pictures or scenes and sing the spirit to a listening stillness. Poems
invite the readers to learn by heart and teach them how to travel light. They require
the reader’s collaboration, the imaginative process to complete the experience.”
Evasco added that “The freshness of the poems would still be for nothing if the
reader doesn’t know how to bring forward many images.”
*Persona is the speaker in the poem. He or she could be anyone or could be
something which represents an idea, issue, humanity, emotion, etc.

38

Forms of Poetry

a. Lyric Poetry is a singing short and simple poem with an accompaniment of a lyre
that expresses emotions and feelings of the poet.

Types of Lyric Poetry

1. Folksongs are short poems that are tainted with love, hope, joy,
grief, sadness, or sorrow as common themes.
2. Sonnets can be Italian, Petrarchan, or Shakespearean with 14 lines
illustrating emotions, feelings, and ideas.
3. Elegy demonstrates grief and melancholy to the dead.
Example: Elegy Written in a Country Churchyard by Thomas Grey
4. Ode expresses noble yet dignified emotions with no definite syllable
or lines per stanza
Example: Ode to the West Wind by Shelley
5. Psalms (Dalit) illustrates praise songs of God as well as the Virgin
Mary
6. Song (Awit) contains twelve syllables accompanied by a guitar or
banduria in a slow tempo.
Example: The Highway Man by Alfred Noyes
 NORTHERN ILOILO POLYTECHNIC STATE
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7. Corridos show eightAJUY syllables
CAMPUS which is spoken to synchronize a
martial tap. Ajuy, Iloilo
Example: Ibong Adarna by
SECONDARY EDUCATION Jose Dela Cruz (Huseng Sisiw)
DEPARTMENT
b. Narrative Poetry tells the significant events in life or make-believe. Epic,
metrical tale, and ballad comprise the narrative verse.
Types of Narrative Poetry
1. Epic demonstrates heroism of gods and the fantastic. It is often
circuitous and is an unending tale.
Example: Beowulf
2. Metrical Tale can be a ballad or a metrical romance revealing love
and supernatural stories.
3. Ballads display the shortest and the simplest poems accompanied by
a dance that will narrate any of the themes such as war, sea, humor,
moral, mystical or historical.
c. Dramatic Poetry written for the theater which can be often lyrical and provides
dramatic monologues.
Types of Dramatic Poetry
1. Comedy provides amusing and happy endings.
2. Melodrama covers musical plays with an opera on it that will link to
misfortune. There is sadness in the tale but the main character has a
happy fate towards the end.
3. Tragedy invokes catharsis or pleasure among the audience where
the hero struggles meeting his or her misfortune.
4. Farce is an exaggerated and extravagant comedy where characters
are like caricatures and quite absurd.
39

5. Social Poems can be comic or tragic whose goal is to bring social

changes in the community.

Elements of Poetry
I. Sense is revealed through the use of words, images and symbols.
A. Diction is the denotative (dictionary meaning) and connotative words or the
meaning assigned by the writer to the words he uses in his literary piece.
B. Figures of Speech is the use of word or words different from the usual
meaning in order to provide emphasis, freshness of expression, or clarity.
It can be created through the four fundamental operations:
1. addition (adiectio), also called repetition/expansion/superabundance
2. omission (detraction) also called subtraction/abridgement/lack th
3. transposition (transmutatio) also called .transferring
4.permutation (immutatio) also called
interchange/switching/substitution/transmutation
The Figures of Speech
1. Simile (from the Latin word simile which means similar) is a stated
comparison between two things that are different, but share some
common element. It is introduced by like, as, as if, than similar to
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
resemble, etc. AJUY CAMPUS
Examples: 1. His mind is like a Iloilo
Ajuy, sponge.
SECONDARY EDUCATION as
2. Your eyes are as bright the stars.
DEPARTMENT
2. Metaphor (from the Greek verb methapherein which means to carry
over) is a suggested or implied comparison between two unlike things
without the use of as, as if, like.
Examples: 1. He is a walking encyclopedia.
2. Character is a diamond that scratches every other stone.
3. Personification gives human qualities or attributes to an object, an
animal, or an idea.
Examples: 1. The volcano is very angry.
2. Time had fallen asleep in the afternoon sunshine
4. Metonymy (from the Greek prefix meta, which means change + the
root onoma, name + the noun suffix –y) consists in substitution the
literal noun for another which it suggests because it is somehow
associated with it.
Examples: 1. There is Death (poison) in the cup.
2. Malacañang announced a non-working holiday.
(the president)
5. Hyperbole (from the Greek prefix hyper which means beyond + the
root ballein, to throw) is a deliberate overstatement or exaggeration
– not to deceive, but to emphasize a statement – often for humorous
effect.
Examples: 1. She cried forever!
2. I’ve been waiting for eternity.
40

6. Irony is a statement of one idea, the opposite of which is meant.

Examples: 1. You’re so lovely today, you look like a Christmas tree.
2. How good of you to put me into shame.
7. Oxymoron is the combining of contraries (opposites) to portray a
particular image or to produce a striking effect.
Examples: 1. Less is more.
2. Sound of silence
8. Apostrophe is a direct address to an inanimate object, a dead person
(as if present), or an idea.
Examples: 1. Oh, Rizal, where is the hope of our motherland?
2. Abraham, look at your children!
9. Synecdoche uses a part to represent the whole.
Examples: 1. I feed eleven mouths. (for persons)
2. She is the brain of this group. (the leader)
10. Paradox uses contradictory statements but in a closer examination
turns out to make sense.
Examples: 1. You can save money by spending it.
2. The more you hate, the more you love.
11. Litotes makes a deliberate understatement used to affirm by
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
negating its opposite
AJUY CAMPUS
Examples: 1. She is not pretty
Ajuy, that
Iloilo she attracts many men.
2. War is not
SECONDARY EDUCATIONhealthy for children and other living things.
DEPARTMENT
12. Antithesis involves a contrast of words or ideas.
Examples: 1. Love is so short……Forgetting is so long.
2. They promised freedom and provided slavery.
13. Onomatopoeia is the formation or use of words which imitate
sounds, but the term is generally expanded to refer t any word
whose sound is suggested of its meaning whether by imitation or
cultural inference.
Examples: 1. buzz
2. bang
C. Imagery and sense impression is the creation of a picture or images in the
mind of a reader by the use of words that appeal to the senses.
1. Visual Imagery is the imagery produced by the use of words that
appeal to the sense of sight like dark, scintillating, and neon signs.
2. Auditory Imagery is the imagery produced by the use of words that
appeal to the sense of hearing as in loud, explosion and creaking.
3. Olfactory Imagery is the imagery created by the use of words that
appeal to the sense of smell, as in odorous, fragrant, and stinks.
4. Gustatory Imagery is the imagery made by the use of words that
appeal to the sense of taste like sour, sweet, and flavorful.
5. Tactile Imagery is the imagery produced by the use of words that
appeal to the sense of touch like slimy, greasy, and stiff.

41

6. Kinesthetic Imagery is the imagery created by the use of words that

appeal to the sense of movement, as in galloping, squinting, and
jumping.
7. Thermal Imagery is the imagery made by the use of words that
appeal to the sense of heat, such as lukewarm, frigid, and steamy.

II. Sound is the use of tone color, rhythm, and measure to produce euphony
(good sound) and harmony in poetry.
A. Tone Color is the element resulting from the use of the following
sound devices:
1. Alliteration, a figure of sound which is the repetition of the i
initial letter or sound in a succession of words.
Examples: 1. sea shell, sea shell in the sea shore
2. Tiny Tony takes tea for tonight.
2. Assonance is the repetition of vowel sound (not necessarily
the initial sound) in a succession of words.
Examples: 1. Haste makes waste.
2. Nine times ninety-nine.
3. Anaphora is a figure of a repetition of a word or words at the
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
beginning of lines,
AJUYclauses,
CAMPUSor sentences.
Examples: 1. Thou Ajuy,
shall Iloilo
not kill.
2. Thou
SECONDARY EDUCATION shall not steal.
DEPARTMENT
4. Consonance is the repetition of consonant sound (not
necessarily the initial sound) in a succession of words
Examples: 1. Betty baked Toby a banana cake.
2. Ninety-nine nannies renewed their contracts.
B. Rhyme is the presence of words that have identical or similar
(approximate) final sounds, the recurrence of the same final sounds
result in what is known as rhyme pattern such as aabb (star-are-
high-sky), abab (star-high-are-sky), or abba (star-high-sky-are).
1. Internal Rhyme is the rhyme that exists within a line.
Example: “In litanies of silentness”
2. Terminal Rhyme exists at the end of line as in Jose Garcia
Vila’s ”God Said, I Made a Man”
“God said, I made a man
Out of day ---
But so bright he, he spun
Himself to brightest Day”
3. Perfect/Exact Rhyme is exhibited by words having identical
final sounds as i n rhyme-time, sound-round, and final-fatal.
4. Approximate/Imperfect Rhyme is exhibited by words having
similar or approximate final sounds, as in rhyme-thine,
sound-count, and final—fable.
5. Eye Rhyme is exhibited by words having the same final letters

42

with differing sounds, as in come-home, Joan-loan, and

comb-tomb.
6. Masculine/Single Rhyme is displayed by one-syllable words, as
in lame-dame, star-are, and high-sky.
7. Feminine/Double Rhyme is shown by two-syllable words with
stress on the first syllable, as in mother-father, children-
brethren, and walking-talking.
8. Triple Rhyme is exhibited by three-syllable words with stress
on the same syllable (either first, second, or third) as in:
wonderful-beautiful, outrageous-courageous, and snorkeling-
funneling.
9. Compound Rhyme is exhibited by compound words producing
two pairs of rhyming words, as in eyesight--daylight,
moonwalk—goon talk, and dishcloth—fish broth.
10. Rime riche/Identical Rhyme is displayed by homophonous
words or homonyms, as in seen—scene, sight—site, and
night-knight.
11. Monorime is displayed by a stanza having terminal words
with the same final sounds as in Jose Garcia Villa’s couplet;
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
“First, a poemAJUY
mustCAMPUS
be magical,/Then musical as a seagull”.
12. Dirime is shownAjuy,
by aIloilo
stanza having two pairs or sets of
rhyming words
SECONDARY at the end ofDEPARTMENT
EDUCATION lines.
13. Tririme is exhibited by a stanza having three pairs or sets of
rhyming words at the end of lines.
C. Rhythm like the beat of music, is the recurrence of pattern of sound. It is
the regular succession of accented and unaccented syllables in a line,
associated with the metrical feet classified below. It may be choppy or
smooth, fast or slow.
1. Iamb -- a two-syllable foot which is accented on the second syllable
Examples: aLONE, beGAN, reFILL
2. Anapest/Antidactylus --a three-syllable foot which is accented o the
third syllable
Examples: overTURN, maraTHON
3. Trochee/Choree/Choreus -- a two-syllable foot which is accented on
the first syllable
Examples: HARbor, MAson, FAvor
4. Dactyl – a three-syllable foot which is accented on the first syllable
Examples: TERrible, SAnity, ORchestra
5. Spondee – a two-syllable foot which is accented on both syllables
Examples: MARRY, FAIRY
6. Pyrrhus/Pyrrhic/Dibrach – a two-syllable foot which is unaccented on
both syllable
43

Examples: butter, copy, happy

7. Tribrach –a three-syllable foot which is unaccented on all syllables
Examples: trinity, misery
8. Amphibrach – a three-syllable foot which is accented on the second
syllable
Examples: amNEsia, bapTISmal, syNOPsis
9.Bacchius – a three-syllable foot which has one unaccented syllable
followed by two accented ones
10. Antibacchius – a three-syllable foot which has two accented
syllables followed by one unaccented one
11. Amphimacer/Cretic – a three-syllable foot which has an unaccented
syllable between two accented ones
12. Molossus – a three-syllable foot which is consists of three accented
syllables

D. Meter is the measure with which we count the beat of rhythm. It is taken from
the Greek word ”metron” meaning “in measure.” It is the stress, duration or number
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
of syllables per line, fixed metrical pattern, or a verse form, quantitative, syllabic,
AJUY CAMPUS
accentual and accentual syllabic. Ajuy, Iloilo
1. Monometer is a line EDUCATION
SECONDARY which has one foot.(means
DEPARTMENT one syllable)
Example: I
am
gay.
2. Dimeter is a line which has two feet.(two syllables)
Example: Believe,
in me;
always.
3. Trimeter is a line which has three feet. (three syllables)
Example: Remember,
that I am;
forever.
4. Tetrameter is a line which has four feet. (four syllables)
Example: Destiny is,
a journey to;
eternity.
5. Pentameter is a line which has five feet. (five syllables)
Example: How do I love thee?
Let me count the ways…
(lines from How Do I Love Thee by Elizabeth Browning)
6. Hexameter is a line which has six feet. (six syllables)
Example: We can do anything, In glory or in shame;
44

7. Heptameter is a line which has seven feet. (seven syllables)

Example: Yes, I have a thousand tongues,
And nine and ninety nine lies.
(lines from Yes, I Have a Thousand Tongues by Stephen Crane)
8. Octameter is a line which has eight feet. (eight syllables)
Example: I think that I shall never see,
A poem as lovely as a tree.
(lines taken from Trees by Hellen Keller)

E. Rhyme Scheme is the formal arrangement of rhymes in a stanza or the whole

poem.
1. Shakespearean (or English Sonnet) is a sonnet because it is composed of
fourteen lines. It has three quatrains (with three stanzas of four lines each)
and one couplet ( a stanza with two lines). It has abab-cdcd-efef-gg rhyme
scheme. The meter is iambic pentameter.
Example: When In Disgrace
by: William Shakespeare
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy,and
When in disgrace with fortune Iloilomen’s eyes, a
I all alone beweep my outcast state,
SECONDARY EDUCATION DEPARTMENT b
And trouble deaf heaven with my bootless cries a
And look upon myself, and curse my fate, b

Wishing me like to one more rich in hope, c

Featured like him, like him with friends possessed, d
Desiring this man’s art and that man’s scope; c
With what I most enjoyed contented least; d

Yet in these thoughts myself almost despising, e

Haply I think on thee – and then my state, f
Like to the lark at break of day arising e
From sullen earth, sings hymns at heaven’s gate f

For thy sweet love remembered such wealth brings g

That then I scorn to change my state with kings. g

2. Spenserian is composed of three quatrains and one couplet with abab-

bcbc-cdcd-ee rhyme scheme. It consists of five foot iambic lines followed by
Alexandrine, or line of six iambic feet, this being to break the monotony of the
terminal rhyming five-foot couplet.

45

Example:
Amoretti (Sonnet 75)
by: Edmund Spenser

One day I wrote her name upon the strand, a

But came the waves and washed it away: b
Again I wrote it with a second hand, a
But came the; tide, and made my pains his prey. b

“Vain man,” said she, ‘that dost in vain assay, b

A mortal thing so to immortalize; c
For I myself shall like to this decay, b
And eke my name be wiped out likewise.” c

“Not so,” (quod I) “let baser things devise c

To die in dust, but you shall live by fame: d
My verse your virtues rare shall eternize, c
And in heavens write your glorious name: d

Where whenas death shall all the world subdue’ e

 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
Our love shall live, and AJUY
later life renew.”
CAMPUS e
Ajuy, Iloilo
3. PetrarchanSECONDARY
is composed ofEDUCATION DEPARTMENT
one octave (eight lines in a stanza) and one
sestet (six lines in a stanza) with abbaabba cdcdcd rhyme scheme.
Example:
During the Life of Laura
by: Petrarch
O ye that hear in vagrant rhymes the sighing a
On which the headlong heart of youth went feeding, b
When, still unseasoned, still at folly’s leading b
I turned from fears in sudden tenor flying a
To hopes whose glitter proved no less a lying— a
As variously related for your reading— b
If ever from Love’s arrow ye fled bleeding, b
Pity, and pardon me this anguished crying! a

But well I know how, I must walk derided, c

A jest, a syllable in tavern chatter; d
By self-reproach my self-deceit goes chided, c
And shame is all the fruit my follies scatter— d
Shame and a sense of pleasures that have glided c
Like ghosts in a dream too trivial to matter. d

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III. Structure is a property of poetry which refers to the way the words are put
together or arranged such that they make sense. Structure is composed of the
following:

a. Word order is the natural and unnatural arrangement of words.

b. Punctuation may be the presence or absence of punctuation marks like,
comma, semi colon and period.
c. Shape is the contextual and visual designs, jumps, omission of spaces,
capitalization and lower case.
Structure could be of vertical and horizontal measure.
A. Vertical Measure is the number of lines within a stanza or the number of
stanza
1. Couplet is a poem or stanza which has two lines.
Example: But in your fear you would see only
love’s peace and love’s pleasure
(Kahlil Gibran’s The Prophet)
2. Triplet is a poem or stanza which has monoriming lines
Example: Oh, Philippines, you’re the land of my birth.
You’re teaming with bountiful Nature’s wealth;
But, of good leaders , suffering from dearth.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS(Philippines, My Philippines)
3. Tercet is a poem or stanza
Ajuy,which
Iloilo has three lines that are not
monoriming
SECONDARY EDUCATION DEPARTMENT
Example: To whom should I speak today?
Brother are evil;
The friends of today love not.
(To Whom Should I Speak Today? by T. Eric Peet)
4. Terza Rima is a poem or stanza which has three lines with the
following rhyme scheme aba-bcb-cdc-ded, etc.
Example: Before the Spaniards set foot here, a
Three waves of migrators arrived; b
The black Negritoes first came here. a

Atop the trees they simply thrived, b

They fed on fruits and vegetables; c
With the barest needs they survived. b

The next group of men more stable, c

And better built than the first came; d
With their crude tools they were able. c

The hunt for food such as game, d

The last group known as the Malays; e
The Pinoys’ ancestors became d
(from The Early Settlers)

47

5. Quatrain is a poem or stanza which has four lines.

Example: We are no other than a moving row
Of magic Shadow-shapes that come and go
Round with this sun-illumined lantern, held
In midnight by the Master of the Show.
(from Stanza LXVIII of Rubaiyat by Omar Kayyam)
6. Cinquain/Quintet/Quintain is a poem or stanza with five lines.
Example: Yes, I have a thousand tongues,
And nine and ninety-nine lie.

Though I strive to use the one,

It will make no melody at my will,
But is dead in my mouth.
(Yes, I Have A Thousand Tongues, by Stephen Crane)
7. Sestet is a poem or stanza which has six lines.
Example: It was many and many a year ago,
In a kingdom by the sea,
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
That a maiden there lived whom you may
AJUY CAMPUS
By the name of AnnabelAjuy, Iloilo
Lee;
SECONDARY EDUCATION DEPARTMENT
And this maiden she lived with no other thought
Than to love and be loved by me.
(from Annabel Lee by Edgar Allan Poe)
8. Septet is a poem or stanza which has seven lines.
Example: But our love it was stronger by far than the love
Of those who were older than we,
Of many far wiser than we—
And neither the angels of heaven above,
Nor the demons down under the sea,
Can ever dissever my soul from the soul
Of the beautiful Annabel Lee,
(from Annabel Lee by Edgar Allan Poe)
9. Octave is a poem or stanza which has eight lines.
Example: Education is a key to success,
A college diploma makes us winners;
Without it, we will turn into losers.
At work are many competing forces
In almost all the different courses.
Education is shown through good manners,

48

In transforming for the better, not worse.

Success gained through educative process.
(from Education Key to Success by Jose Rizal)
10. Nonet is a poem or stanza which has nine lines.
Example: Life
Is short
That we have
To make good use
Of every second
Of our waking time.
Let us not waste precious time;
Let us make every minute count;
Let’s spend everyday meaningfully.
(A Short Life Worth Living)

11. Etheree is a poem or stanza which has ten lines with a 1-2-3-4-5-6-7-8-9-
10 syllable count or the reverse 10-9-8-7-6-5-4-3-2-1 syllable count. It may
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
be doubled (1-2-3-4-5-6-7-8-9-10-10-9-8-7-6-5-4-3-2-1
AJUY CAMPUS syllable count),
tripled, quadrupled, and so on. Ajuy, Iloilo
Example: You SECONDARY EDUCATION DEPARTMENT
Are the
Only one
Who makes me feel
Genuinely happy.
When you are beside me;
I derive satisfaction
From your warm smile, from your embrace,
From your gentle touch and sweet kisses,
Indeed, you really put me in a trance.
12. Sonnet is a poem which has 14 lines. It may be Shakespearean,
Spencerian, Petrarchan or Filipino, with variable rhyme scheme or vertical
measure. (Examples of sonnets were discussed in the rhyme scheme.)
13. Tail-rhyme stanza are those characterized by the presence of two or more
six short lines together and serving as tails to the various parts of the stanza.
Example: We, sleekit cow’rin, tim’rous,beastie,
Oh, what a panic’s in the breastie!
Thou need a start awa sae hasty
Wi, bicherin brattle!
I wad be laith to rin an’ chase thee
Wi, murd’rin pattie!

B. Horizontal Measure is the number of syllables or metrical feet within a line.

1. Monosyllabic is a line which has one syllable, such as the last line in a
nonet or the first line in an etheree.
49

Example: I
was
sad.
2. Disyllabic is a line which has two syllables.
Example: Loving
is best
for us.
3. Trisyllabic is a line which has three syllables.
Example: Forever
is never
a promise.
4. Tetrasyllabic is a line with four syllables.
Example: There is a word
Which bears a sword
(There Is A Word by Emily Dickinson)
5. Pentasyllabic has five syllables.
Example: Why shouldn’t I say
That the parrot’s mine
When only of in light
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
That the parrot’s mineAJUY CAMPUS
When only of in flight Ajuy, Iloilo
Can I not trap it? EDUCATION DEPARTMENT
SECONDARY
(Tubad-Tubad, translated by Abdulla Madali)
6. Hexasyllabic a line with six syllables.
Example: Down river, up river
rows the boatman singing
(Chantney by Ramon Escoda)
7. Heptasyllabic is a line with seven syllables.
Example: Africa, my Africa
Africa of proud warriors
In ancestral savannahs,
(from Africa)
8. Octasyllabic is a line with eight syllables.
Example: Wise education, vital breath
Inspires an enchanting virtue
(from Education Gives Luster to the Motherland by Jose Rizal)
9. Nonasyllabic is a line with nine syllables.
Example: For loneliness is a silver word,
An acid wine, or a broken chord
(from Hermit’s Chant by Francisco Tonogbanua)
10. Decasyllabic is a line which has ten lines.
Example: Rise from your dreams, I bring you love more sweet
(from Soft Night by Abelardo Subido)
11. Undecasyllabic is a line with eleven syllables.
Example: Then you must follow her teaching and obey…
50

Only then can we prove we respect deeply

(from Our Plea by Marra Lanot and Lilia Santiago)
12. Dodecasyllabic is a line with twelve syllables.
Example: But let there be spaces in your togetherness.
And let the winds of the heavens dance between you.
(from The Prophet by Kahlil Gibran)
C. Parallelism is the use of similar structure in poetry and prose works.
Example: The youth of the land is a proud and noble appellation
The youth of the land is a panoramic poem,
The youth of the land is a book of paradoxes.
(from Like the Molave)

D. Ellipsis is the omission of some words or phrases to produce a literary effect.

Example: Where there is hatred, let me sow love,
Where there is injury, pardon
Where there is doubt, faith;
Where there is despair, hope;
(from the Prayer of Peace)
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

51

IV. Learning Assessment

Read the poem and answer the activities that follow. Please provide pieces of paper
for your answers.

GOD’S GRANDEUR
Gerard Manley Hopkins

The world is changed with the grandeur of God.

It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade, bleared, smeared with toil;
And wears man’s smudge and shares man’s smell; the soil
Is bare now, nor can foot feel, being shod.
And for all this, nature is never spent;
There are lives the dearest freshness deep down things;
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
And though the lastAJUY
lightsCAMPUS
off the black West went
Oh, morning, at the brown
Ajuy,brink
Iloilo eastward, springs---
Because the Holy
SECONDARY EDUCATION Ghost over the bent
DEPARTMENT
Worlds broods with warm breast and with ah! Bright wings.

A. Look up the meaning of the italicized words as they are used in the poem.
1. the world is charged with the
2. like shining from shook foil….
3. …seared with trade
4. and wears man’s smudge
5. grandeur of God
6. …not reck his rod
7. smeared with toil

B. Let us think and write. Explain your answers briefly.

1. In how many ways can we see the presence of God around us?
2. What is Hopkins frustrated about after all these years?
3.What does Hopkins mean in saying “…….the soil is bare now, nor can foot feel
being shod?
4. Give a one word description of the lines:
a. “…..and thoughts the last lights off the black West went?”
b. “…..Oh, morning, at the brown brink eastward springs----?”

52

C. Provide answers basing on the poem “God’s Grandeur”.

1. Title
2. Author
3. Type
4. Subtype
5. Persona
6. Addressee
7. Theme
8. Figures of Speech (Just write what is present in the poem and the lines that
represent the figurative language.)
a.
b.
c.
d.
e.
9. Symbolism
10. Imagery:
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
a. Visual AJUY CAMPUS
b. Auditory Ajuy, Iloilo
c. Olfactory SECONDARY EDUCATION DEPARTMENT
d. Gustatory
e. Tactile
f. Kinesthetic
g. Thermal
11. Structure:
a. Vertical Measure
b. Horizontal Measure
12. Rhythm
13. Pattern
14. Rhyme: (Please provide if there are still which are not included in the list)
a Internal
b. Terminal
c. Masculine
d. Feminine
e. Eye Rhyme
d. Identical

53

V. Enrichment Activity

List down 20 contemporary poem titles and its authors and the year these poems
were written/published. Five of these poems/authors must come from the
Philippines.
 NORTHERN ILOILO POLYTECHNIC STATE
COLLEGE
AJUY CAMPUS
Ajuy, Iloilo
SECONDARY EDUCATION DEPARTMENT

VI. References
1. Ang, J. (2009). Kritika: Selected readings in Philippine literature from pre-colonial
to post EDSA:Manila. MINDSHAPERS CO., INC.
2. Menoy, J. Z. (2014). Philippine literature for today’s generation: A thematic
approach: Mandaluyong City. Books Atbp. Publishing Corp.
3. Mercado, J. F. (2011). Anthology of English and American literature for
college:Manila. Anvil Publishing, Inc.
4. SyGaco, S.(2017). Writing techniques in creative nonfiction: Quezon City. Great
Books Trading.
5. Uychoco, M.T. (2017). 21st Century Literature from the Philippines and the world:
Quezon City. REX Printing Company, INC.

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