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AKLAN STATE UNIVERSITY

Banga, Aklan
2nd Sem/AY 2021-2022

Department: College of Teacher Education Course Code: ENG 28

Name of Instructor: Sharmaine L. Lava Schedule:
Course Descriptive Title: Teaching and Assessment of Literature Studies Semester: 2nd Sem/A.Y. 2021-2022

Name of Student: ________________________________________ Year and Section: ________________________

Student ID Number: ______________________________________ Contact Number: _________________________
Email Address: __________________________________________ Alternate Contact Number: __________________

 Module Release: March 14, 2022

 Submission of Tasks and Assignments: via E-mail [email protected]
 FB Learning Group: Eng 28 – Teaching and Assessment of Literature Studies

“We make out of the quarrel with others, rhetoric, but of the quarrel with
ourselves, poetry.” — William Butler Yeats

MODULE 3 CONTENT
OVERVIEW
In Module 3, you will study the Teaching Poetry and Dramatic Poetry and what it involves. Also, you will
encounter terms and definitions often used in a literature class and other related English major subjects.
These terms are useful to fully understand the whole course.

Along with these concepts, you will encounter activities that will gauge and evaluate your learning and
comprehension regarding the subject matter. Materials for your references are also available and
attached in this module. For this week, you are expected to gear yourself with the basic understanding of
the course in preparation for a larger scope of commitment to learn Teaching and Assessment of
Literature Studies.

MODULE 3 [TEACHING POETRY AND DRAMATIC POETRY ] OBJECTIVES

By the end of this chapter/week, you will be able to:
1. adapt competency-based learning materials in teaching poetry which respond to the various
linguistic, cultural, socio-economic, and religious backgrounds of learners;
2. identify a range of assessment strategies in teaching poetry that address learners’ needs,
progress, and achievement which are consistent with the selected competencies; and
3. craft a learning plan according to the English curricula that develops higher order thinking skills of
learners through the use of poetic texts.

WEEKLY SCHEDULE
This week, we will utilize blended learning method. Upon receiving this learning module, you shall be
guided with the lessons, discussions, and tasks need to be completed. The discussion part of this module
is for your independent reading. Make sure to read and understand the provided notes and feel free to
use books or online references provided therein if you can access online. Prepare your inquiries and
questions regarding the topics in our scheduled limited face to face class. Also, you can reach me out for
your clarifications through my email [email protected], or you can reach me out via messenger
just in case we cannot meet in person.
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DISCUSSION
POETRY

Poetry is a division of literature works which covers a literary work expressed in verse, measure, rhythm,
sound, and imaginative language and creates an emotional response to an experience, feeling or fact.
Traditionally, it has three sub-divisions namely: Narrative poetry, Lyric poetry, and Dramatic poetry.
1. Narrative Poetry is a sub-division of poetry which tells or narrates a story. It may be lengthy as an
epic, or short as a ballad and typically measured as a metrical tale.
A. Epic is a narrative poem which accounts the heroic exploits of a community’s hero, usually
involving superhuman abilities. Example: Hudhod hi Aliguyon is an Ifugao epic.
B. Ballad is a narrative poem which depicts a single incident that transpired in a person’s life. It is
usually recited during gatherings in the past but it may be sung in the present
days. Example: Forevermore by Side A Band.
C. Metrical Tale is a narrative poem which narrates a story in a “metered” or “measured” number
of syllables hence it was called metrical. There are two popular variations in Philippine
Literature, the Awit and Corrido.
i. Awit is a romance metrical tale of dodecasyllabic measure which is recited during formal
performances or informal gatherings. Example: Florante at Laura by Francisco
“Balagtas” Baltazar.
ii. Corrido is a martial or adventure metrical tale of octosyllabic measure which is recited for
recreational purposes. Example: Ibong Adarna by Jose Corazon dela Cruz.

2. Lyric Poetry is a sub-division of poetry which features poems intended to be sung with the
accompaniment of the musical instrument called “lyre” hence, lyric poetry. The following are the
types of lyric poems.
A. Song is a lyric poem of various theme which is meant to be sung in its entirety. Example: Bayan
Ko written by Jose De Jesus, arranged by Constancio De Guzman, and sung by Freddie Aguilar.
B. Ode is a lyric poem of noble and exalted emotion which has dignified
countenance. Example: Ode to the West Wind by Percy Bysshe Shelley.
C. Elegy is a lyric poem of sad theme such lamentation for the dead, longing for a missing love,
and a grief for things beyond one’s control. Example: Elegy Written in a Country
Churchyard by Thomas Gray.
D. Sonnet is a lyric poem of 14 iambic pentameter lines usually about love and beautiful
themes. Example: Sonnet to Laura by Francesco Petrarch.
E. Idyll is a lyric poem celebrating the tranquil and beautiful landscapes of rural and country
settings. Example: Beside the Pasig River by Jose Rizal.

3. Dramatic Poetry is a sub-division of poetry which features poems meant to be performed on stage.
Theater plays and dramatic presentations belong to this type.
A. Tragedy is a dramatic poetry which features a hero whose hubris or shortcoming eventually
causes his downfall or defeat often ending in a very sad conclusion. Example: Hamlet by
William Shakespeare and The Three Rats by Wilfrido Ma. Guerero.
B. Comedy is a dramatic poetry which is similar with tragedy except that the hero triumphs and
overcomes the odds towards the end and emerges victoriously. Example: The Twelfth
Night by William Shakespeare.
C. Melodrama is a dramatic poetry which is a combination of the elements of tragedy and comedy
yet ends in a happy note. Example: A Midsummer Night’s Dream by William Shakespeare
D. Farce is a dramatic poetry which is an exaggerated comedy that aims to elicit laughter hence,
relaxation. Examples: Importance of Being Earnest by Oscar Wilde.
E. Social Play is a dramatic poetry which tackles social issues and problems such as poverty,
corruption, discrimination, racism, sexism, among others, with an aim to bring awareness and
bring about positive change. Example: Zsazsa Zaturnah by Carlo Vergara.
(https://salirickandres.altervista.org/divisions-of-literature/)
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FUN POETRY

Funny poetry is a style of poetry in it’s own right, different from the many other types of more
serious verse. A style of poetry is often called a genre (pronounced ZHAHN-ruh). Other styles, or genres,
include love poetry, cowboy poetry, jump-rope rhymes, epic poetry (really, really long poems), and so on.

In addition to styles or genres of poetry, there are also poetic forms. A form is a particular type of
poem with rules for how to write it. For example, you may have heard of a limerick or a haiku or
an acrostic. These are poetic forms, and there are rules you can follow to write them.

LIMERICK

Limericks are one of the most fun and well-known poetic forms. No one knows for sure where the name
“limerick” comes from, but most people assume it is related to the county of Limerick, in Ireland.

The reason limericks are so much fun is because they are short, rhyming, funny, and have a bouncy
rhythm that makes them easy to memorize. In this lesson, I’ll show you how you can write your own
limericks in just a few easy steps.

THE R ULES OF LIMERICKS

Limericks, like all poetic forms, have a set of rules that you need to follow. The rules for a limerick are
fairly simple:
 They are five lines long.
 Lines 1, 2, and 5 rhyme with one another.
 Lines 3 and 4 rhyme with each other.
 They have a distinctive rhythm (which I’ll explain shortly)
 They are usually funny.

RHYMING A LIMERICK
The rhyme scheme of a limerick is known as “AABBA.” This is because the last words in lines 1, 2,
and 5 rhyme. Those are the “A’s” in the rhyme scheme. The “B’s” are the last words of lines 3 and 4.

Example:
There was a young fellow named Hall
Who fell in the spring in the fall.
‘Twould have been a sad thing
Had he died in the spring,
But he didn’t—he died in the fall.
— Anonymous

Notice that the words, “Hall,” “fall,” and “fall” all rhyme. Those are the “A” words in the
“AABBA” rhyme scheme. Also notice that “thing” and “spring” rhyme. Those are the “B” words in the
rhyme scheme.

LIMERICK R HYTHM
Now let’s take a look at the rhythm of the limerick. It goes by the complicated name
“anapaestic,” but you don’t need to worry about that. What I want you to notice when you read or
recite a limerick is that the first two lines and the last line have three “beats” in them, while the third
and fourth lines have two “beats.” In other words, the rhythm of a limerick looks like this:

da DUM da da DUM da da DUM

da DUM da da DUM da da DUM
da DUM da da DUM
da DUM da da DUM
da DUM da da DUM da da DUM
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The rhythm doesn’t have to exactly match this, but it needs to be close enough that it sounds
the same when you read it. For example, using the limerick above about the fellow from Hall, if we
emphasize the beats, it reads like this:

there WAS a young FELLow named HALL

who FELL in the SPRING in the FALL.
‘twould have BEEN a sad THING
had he DIED in the SPRING,
but he DIDn’t—he DIED in the FALL.
Let’s take a look at another famous limerick:
There was an old man of Nantucket
Who kept all his cash in a bucket;
But his daughter, named Nan,
Ran away with a man,
And as for the bucket, Nantucket.
— Anonymous

If you emphasize the beats when you read it, it comes out like this:

there WAS an old MAN of NanTUCKet

who KEPT all his CASH in a BUCKet;
but his DAUGHTer, named NAN,
ran aWAY with a MAN,
and AS for the BUCKet, NanTUCKet.

SOME LIMERICK T RICKS

There are two more things that you will notice when you read limericks:
1. The first line usually ends with a person’s first name or the name of a place.
2. The last line is usually funny.

Because the first line is usually the name of a person or place, writing the first line is the easiest
part. You simply pick the name of a place or person – like “New York” or “Dave” – and write a line like
this:

There once was a man from New York

Or
There was an old woman named Dave

Then go to your rhyming dictionary and start looking for rhymes like “cork,” “fork,” “pork,”
“stork,” or “cave,” “gave,” “wave,” and so on to find more words to complete your limerick.

Once you’ve found some rhyming words, you’ll want to start thinking about a funny ending for
your poem. I find it’s easiest to write lines 1, 2, and 5 first, and then to fill in lines 3 and 4 afterward. For
example, I decided to write a limerick about someone from Seattle, so I started it like this:

A talkative man from Seattle

would spend his days speaking to cattle.

I then noticed that the word “prattle” rhymed with “cattle” and “Seattle” so I wrote the last line,
like this:
She said, “Why it’s nothing but prattle!”
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Finally, I went back and wrote lines 3 and 4 to complete the limerick:

A talkative man from Seattle

would spend his days speaking to cattle.
When asked what he said,
one old cow shook her head,
and replied, “Why it’s nothing but prattle!”

You’ll notice that I changed the last line after I wrote lines 3 and 4. I did this so the poem would
make more sense. It’s okay to change your words at any time if it impro ves the poem.

HAIKU

HOW TO WRITE A HAIKU

It is easy to learn to write a haiku, but it can take a lot of practice to learn how to do it well. This
lesson will give you the basics for writing your own haiku. It’s up to you to practice by writing a lot of
them so you will get very good at it.

What is a Haiku?
A haiku is an unrhymed three-line poem. It is based on a traditional Japanese poetic form.
Though there are different ways to write haiku, the traditional pattern in English is to write the first and
last lines with five syllables each, and the middle line with seven syllables. In other words, the pattern of
syllables looks like this:
Line 1: 5 syllables
Line 2: 7 syllables
Line 3: 5 syllables

Here’s another way to visualize the same thing:

12345
1234567
12345
Most often, haiku poems are about seasons or nature, though you can write your own haiku
about anything you like. If you don’t want to write about nature, and would prefer to write haiku about
candy or sports, that is perfectly okay.

One more thing to keep in mind is that the last line of a haiku usually makes an observation.
That is, the third line points out something about the subject you are writing about.

Haiku About Seasons

Let’s say that you decide to write your haiku about a season. First you will want to select a
season: spring, summer, fall, or winter. I’ve decided to write a haiku about winter, and I know that in the
last line I will want to make an observation. I want to say that winter is almost here, but we aren’t quite
ready for the snow. Maybe it’s that we haven’t raked the leaves off the front lawn and we need to do it
soon before it snows.

I want to say all of this, but I want to do it in a pattern of 5, 7, 5. So I might say something like this:

Winter is coming.
Snow will be arriving soon.
We should rake the leaves.

If you count the syllables on your fingers as you read this poem, you will see that the lines have
five syllables, seven syllables, and five syllables, just as they should.

Haiku About Nature

If you decide to write a haiku about nature, you will have many more subjects to choose from.
You could write about animals, plants, the sky, the ocean, streams, the wind, and so on. Start by
selecting a topic, and then decide what you want to say; what observation you want to make about it.
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For example, I have decided to write a haiku about my cat. One thing I notice about my cat is
that he sleeps a lot. In fact, I’m pretty sure he sleeps almost all night and all day. I’m not sure how he
can be so tired. In any case, here is my haiku:

Tired cat sleeps all night.

He needs lots of rest for a
Long day of napping.

Funny Haiku
Just because most haiku poems are about seasons or nature doesn’t mean that’s all they can be
about. If you want, you can even write funny haiku poems. One way to make a haiku funny is to have
an unexpected last line. For example, if the last line says the opposite of what the reader expects, it
becomes like the punchline of a joke. It also helps to write about a funny subject.

As an example, I decided it would be funny to write a haiku excuse for why I can’t turn in my
homework. Here it is:
My homework is late.
My dog ate it this morning.
I sure like my dog.

Notice that this ending is unexpected. Most readers would expect the poem to end with
something like “can I turn it in tomorrow?” or “I’m mad at dog” or something like that. By saying “I sure
like my dog,” I am telling the reader something they don’t expect, which will hopefully make them smile.

CLERIHEW

HOW TO WRITE A CLERIHEW

You’re going to love learning how to write clerihews. Why? Because clerihews are funny poems
you write about specific people. That means when you learn to write a clerihew, you can instantly write
funny poems about your parents, your teacher, your favorite movie star, your best friend, your pet, or
anyone else you can think of.

Clerihews have just a few simple rules:

1. They are four lines long.
2. The first and second lines rhyme with each other, and the third and fourth lines rhyme with each
other.
3. The first line names a person, and the second line ends with something that rhymes with the
name of the person.
4. A clerihew should be funny.

That’s it! You don’t have to worry about counting syllables or words, and you don’t even have to
worry about the rhythm of the poem.

Let’s look at an example. Let’s say your art teacher was named Mr. Shaw, and you wanted to
write a clerihew about him. You might start your clerihew like this:

Our art teacher, Mr. Shaw,

Really knows how to draw.

Notice that the first line ends with the name of the person the clerihew is about, Mr. Shaw. The
second line ends with “draw” because it rhymes with “Shaw.”

To finish the clerihew, you need to write two more rhyming lines. In a well-written clerihew,
those next two lines will make the poem funny, like this:
Our art teacher, Mr. Shaw,
Really knows how to draw.
But his awful paintings
Have caused many faintings.
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You don’t have to limit yourself to writing clerihews about people you know. You can write
clerihews about people you have never met. A clerihew will work best, though, if you write it about
someone who is well known, or who at least is known to the people who will read it.

And you don’t have to limit your clerihews to real people. You can even write clerihews about
characters from books, movies, comics, cartoons, etc. Here’s an example of a clerihew about a character
from a book:
The enemy of Harry Potter
Was a scheming plotter.
I can’t tell you what he’s called; I’d be ashamed
To name “he who must not be named.”

So you see, clerihews are short, easy to write and can be about any person or character, real or
not. They can be about people you know, people you don’t know, or even about animals, cartoon
characters, rock groups, or anyone else you can think of.

Just remember, put the person’s name at the end of the first line, rhyme it at the end of the
second line, and then write two more rhyming lines that make it funny, and you’re done.

SHAPE POEMS

SHAPE POEMS
A shape poem, or concrete poem, is an arrangement of words on a page into shapes or patterns
that reveal an image, such as in a calligram. These visual poems are an artistic blend of the literary and
the visual arts. Readers experience a shape poem via its words, typography, and the visual representation
of the poem’s subject. In this type of visual poetry, the meaning of the poem is enhanced by the shape of
the poem itself, rather than the actual words used.

The Origins of Shape Poems

Shape poems have been around for centuries and are often used in creative writing exercises.
Below is a brief history of the shape (or concrete) poem.

Ancient letter arrangements: Shape poems were already a popular literary form in Ancient Greece as
early as 2 BC. Scribes would often use the shape of the text itself to bring more meaning into these types
of poems.

Early pattern poetry in the early twentieth century: The American poet E. E. Cummings and the French
poet Guillaume Apollinaire wrote pattern poems in the first half of the twentieth century, spacing out and
styling words on the page for poetic expression. These poets rose to prominence before the concrete
poetry movement formally entered the mainstream.

Mid-twentieth century: While the art form has a long history, concrete poetry has only been a widely-
shared term since the mid-twentieth century. Poetry as a form was evolving; Dada artists explored sound
poetry, introducing new, aural ways to experience poems, primarily via performances that blended music
and text.

Development as a visual art form: In 1950s Brazil, writers affiliated with the São Paulo magazine
Noigandres experimented with visualizing words on a page. Members of the Noigandres group—including
Brazilian writers Augusto de Campos, Décio Pignatari, and Haroldo de Campos—showed their work at an
art exhibit. These avant-garde artists carved a new path, blazing a trail for an art movement that was also
a literary movement.

Anthology: This artistic medium flourished throughout the twentieth century. In 1968, Mary Ellen Solt
published Concrete Poetry: A World View, a definitive collection of the concrete poetry movement.
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9 Shape Poem Examples

There are many notable shape poems that exist in literature. Read on below for a few
famous examples of shape poems.
1. “40 Love”: This concrete poem by Roger McGough is a narrative about a couple playing tennis.
The text is divided down the middle, representing the net that separates them while they play,
and will also be present when they’re home.
2.
3. “Apfel”: Written by German writer and scholar Reinhard Döhl (and titled the German word for
“apple”), this poem consists of only the word “Apfel” repeated enough times to form the shape
of an apple.
4. “Easter Wings”: The Welsh poet George Herbert created “Easter Wings,” one of the most famous
examples of concrete poetry. “Easter Wings” was originally printed sideways—with words not
running left to right but up to down—so that readers had to turn the book 90 degrees to read the
work. The piece, a religious meditation on Jesus’ atonement, comprises two stanzas that resemble
two pairs of angels’ wings.
5. “Ho/Horizon/On”: Ian Hamilton Finlay published his first collection of concrete poetry, Rapal, in
1963. In “Ho/Horizon/On,” this Scottish poet uses a combination of the words “ho,” “horizon,”
and “on” to create a triangular image with a small gap in the bottom center of the concrete poem.
The gap could be interpreted as the sun, sitting on the horizon with all the letters above it acting
as the illuminated sky.
6. “Lazy Jane”: Penned and illustrated by Shel Silverstein, this poem features a young girl lying on
the ground waiting for water, while the poetry trickles down like a stream above her.
7. “The Mouse’s Tale.”: In his 1865 novel Alice’s Adventures in Wonderland, Lewis Carroll created a
shape poem known as “The Mouse’s Tale.” The poem described a mouse’s tale while also being
shaped like a curving mouse’s tail.
8. “Silencio”: Eugen Gomringer’s “Silencio” shows the title word printed fourteen times to form a
box with a hole in the middle, in which another instance of “silencio” would fit. In that hole, the
Bavarian-born German poet seems to be showing a visual form of silence.
9. “Swan and Shadow”: John Hollander’s well-known poem features the figure of a swan made
entirely out of text with the reflection of the swan, also written in text, mirrored beneath.
10. “Uplifting”: Written by Robert Yehling, this concrete poem also functions as an acrostic verse, as
the first letter of each line spells out the word “uplifting,” while visually representing the verb
through matching text.

How to Write a Shape Poem

Creating your own shape poem can be a fun writing exercise for poets that only requires a few
preliminary steps. For a step-by-step guide on how to write this type of poetry, see below:
1. Read other shape poems for inspiration. Start by reading examples of shape poetry for
inspiration. Studying how other authors have used the form can spark some inspiration on how
to construct your shape poem. It might even help you figure out what you want to write about.
2. Decide what your poem is about. Before you start writing or planning the shape of your poem,
you want to decide what it is about. Deciding on the subject matter of your poem before you plan
its shape will help you pick the most relevant shape.
3. Pick the shape for your poem. Brainstorm a few idea shapes before you start writing, and pick
shapes that are familiar and recognizable, like a bird, a car, or a balloon. The shape you pick will
have to be created with text, so make sure it’s something easily created and identifiable.
4. Outline the form of your poem. Once you’ve selected your image, sketch it out on a sheet of
paper. The sketch will act as your guide in choosing where certain words should go to create the
outline of your selected image. You can lightly pencil in some words to test out how they will look
within the given structure.
5. Write your poem. Now that you’ve planned out the shape of your poem, you are ready to fill it
with text. You may need to keep your words brief to fit into the shape of your poem. Use evocative
imagery and language that speaks to your readers’ senses. It is also helpful to choose a few words
that are related to your poem’s physical shape to help guide your writing process.
6. Fill the shape in with the text. As with “Swan and Shadow,” you can write a story that gives your
image a narrative. Or, you can choose a series of letters and words that repeat to flesh out your
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picture, such as with “Apfel.” The poetry itself can be free verse or blank verse, or if you’re feeling
extra creative you can try rhyming your stanzas.

COMPREHENDING POETRY
A poem’s structure can help with comprehension. Poems come in various forms, lengths and
subjects. Poets write poetry for different reasons and purposes but all poems utilize certain poetic
elements. In addition to a poem's structure, poetic elements and devices can also help readers to organize,
process and analyze the meaning and themes of poetry.

Length
Sometimes, a poem’s shorter length can aid in comprehension, both of the poem and reading in
general. This is true for simple poems and nursery rhymes like “Hey Diddle Diddle.” However, some short
poems can be extremely complex and dense, making comprehension more difficult. For example, Robert
Frost’s “The Road Not Taken,” while short has two meanings, one literal and one figurative. This poem
requires critical thinking, maturity and analysis to comprehend its full meaning. Ultimately, the length of
a poem may determine the time it takes to comprehend it and whether or not students find it accessible.
According to an article from Hamline University, “Poems might be an avenue to reading comprehension
because they are non-threatening, shorter pieces of text.”

Form
Certain poems take the physical shape of the subject or theme expressed in it. For example, a
poem about a bell might have words laid out in the shape of a bell. This gives readers an immediate
understanding of the subject of a poem. If a poem is about love and it is laid out in the shape of a heart,
the theme of the poem is also immediately evident.

Poetic Elements
Poetry utilizes various poetic elements and devices that can aid in comprehension. But, a reader
has to be familiar with them before they can help them understand poetry. Rhythm, rhyme,
personification, simile, metaphor and a host of other literary devices help with comprehension of a poem.
For example, “She walks in beauty like the night” is a simile that can help readers understand how
beautiful the poet finds the woman in the poem.

Methods
There are several methods for reading, comprehending and analyzing poetry that are used by
teachers and students to unlock the meaning of poetry. The TPCASTT has student’s first look at the title
of a poem, then paraphrase the poem before moving on to the connotation, attitude, shifts and theme of
a poem. These methods of analysis provide systematic and strategic steps to follow when reading a poem.

HOW TO DECIPHER POETRY?

Even the most voracious readers of prose often shy away from poetry. Some readers are naturally
drawn to the mysteries that lie within lines and stanzas, which fit into a variety of poetic forms such as
lyric verse, odes, haiku, epics and ballads, free verse and others. However, if you feel intimidated by the
idea of reading and understanding poetry, you only need interest, patience and commitment, along with
some simple tools to help you navigate the world of poetry. Once you become more comfortable with the
process of deciphering poetry, you will probably quickly find yourself an enthusiastic explorer of the
medium.

Read as an Explorer of Poetry

Poets often fill their works with challenging vocabulary and esoteric allusions to help create their
vision. Consider your first reading of the poem -- or poems -- you choose your chance to mine the poem
for its arcane treasures. As Shmoop.com suggests, try to become an archaeologist and an explorer within
the poem you are reading. Don't leave any potential gem unearthed. Keep a pen in hand and make a note
of each word or reference that you don't understand. Once you finish the first reading of the poem,
consider it your mission to learn more about the references and words -- using a dictionary, encyclopedia
and other reference sources -- then prepare to apply them to the context of the poem.
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Read the Poem Aloud

When you read the poem aloud, you find the rhythm of the work. Whether the poet has
constructed a poem in iambic pentameter, feminine rhyme scheme or lyric verse, you will hear it once
you have spoken the words in the open air. In addition to the basic composition elements of the poem,
such as meter and rhyme, you will also hear any variations from that basic construction, which will further
help you understand the nuances of meaning in the poem.

Read the Poem More Than Once

Each time you read a poem, you will find something new that serves as a clue to the text, especially
if you have taken the time to look up any obscure references or unfamiliar terminology you came across
in your initial reading. When you read a poem more than once -- even several times -- you peel its layers
and steadily come to a greater understanding of the ideas that the poem is conveying to you.

Tie It All Together and Enjoy the Poem

Once you have collected all the core information about the poem and have read it aloud a few
times, you will have all the tools you need to decipher the poem's meaning. Examine how everything that
you have read and studied works together to create the subject, theme and ultimate conclusion of the
poem. Most importantly at this point, read the poem in a more relaxed setting and frame of mind. You
have all the information laid out before you, and what is left is to allow yourself to enjoy the work and let
the meaning reveal itself to you.

HOW TO MAKE AN ANALYSIS OF THE POEM?

Many people say they don't like poetry because they don't understand it. Though poems have a
basic story or message, there is often an underlying story or message that has to be analyzed by examining
the poem. Once you analyze the poem, you will have a better understanding of it, and may find that you
appreciate and enjoy poetry more than you thought you did.

Step 1 Read the poem aloud. Write a few notes that explain the basic story of the poem. In order to
understand the deeper meaning of the poem, you have to first understand the basic story.

Step 2 Read the poem again. Write a few notes about your emotional impression of the poem and how
it makes you feel. Your personal reaction and personal experiences contribute to your analysis of a poem.

Step 3 Identify the speaker of the poem. A poem is not always written from the point of view of the poet.
Identifying the speaker can help you understand the perspective of the poem.

Step 4 Make some notes about the tone of the poem. The tone is how the poet deals with the poem. It's
expressed as an emotion. For example, tone may be mournful, happy, playful or ironic.

Step 5 Write a sentence or two explaining any themes in the poem. A theme is an abstract idea the poem
centers around or is a recurring idea in it. For example, one theme in Shakespearean sonnets is love.

Step 6 Make some notes about any symbolism that appears in the poem. A symbol is something that
represents something else in the poem. For example, winter can symbolize the end of life.

Step 7 Examine the language of the poem. The way poets use language can affect the analysis of a poem.
Word choice, syntax, punctuation and figures of speech are all used to create the poem. How the poet
uses them can help you understand the poem better.

Step 8 Make notes about the imagery in the poem. Poetry is about experience, and poets use imagery to
give you the experience they have when writing it. Imagery uses all five senses, and how you react to a
poem's imagery affects your overall impression of it.
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Step 9 Examine the structure of the poem. This includes the meter and rhyme scheme of the poem, if
either are present. For example, a Shakespearean sonnet has three stanzas of four lines and a final
couplet. The first and third lines of each stanza rhyme, the second and fourth lines of each stanza rhyme
and the two lines of the couplet rhyme.

Step 10 Examine the genre of the poem. It may be a sonnet, haiku, epic or ode. The genre the poet
chooses contributes to the overall experience of the poem.

Step 11 Study the poet's life. A poet often uses her own life experiences as a foundation for writing.
Learning about the life of the poet may help you better understand the poem.

REFERENCES OF THE T OPIC /S

[EL%20106/Introduction-to-Teaching-Literature-VALLENTE-JOHN-PAUL-C.pdf]
[Malaysian Online Journal of Educational Science]
[https://www.prestwickhouse.com/blog/post/2019/11/9-approaches-to-teaching-literature]
[https://www.slideshare.net/josephestroga/language-and-literature-assessment]

TEST AND EVALUATION

TASK DIRECTIONS
1. Go over your module, read and understand so that you can answer the evaluation comprehensively.
2. You can search online for further readings through the links provided above but you are not allowed to
copy answers from Google.
3. Ask for clarification (that is, ask questions) if needed.
4. Please practice independent reading and independent learning in this new normal set up.
5. Most importantly, STAY SAFE always!

ANSWER THESE!

Direction: Copy the following questions and answer in 3-5 sentences only.
1. Briefly discuss poetry and its 3 sub-divisions namely narrative poetry, lyric poetry, and dramatic
poetry.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
2. As a pre-service teacher, how will you assess the students’ comprehension especially in poetry?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
3. What do you think are the best ways to teach poetry in Junior High School students?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
4. Analyzing poems is one of the most challenging and critical part in literature. As one of the
literature students, how do you produce an accurate analysis and interpretation of the poems you
read? What are the things you need to consider in analyzing poems?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

DO THESE!

Direction: Create a poem on the following. Refer to the discussion and sample given above for your
reference
a. Limerick
b. Haiku
c. Clerihew
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DIRECTIONS FOR SUBMISSION OF T ASK AND EVALUATION

[You can pass your evaluation task through online or in person. If you prefer online, kindly send it to my email
account, [email protected], or you can submit in our FB Learning Group comment section.]

GRADING
[Scoring Rubrics for Task and Evaluation]

Numerical Letter Description

Value Value

1. The student includes meaningful, substantial, relevant, informative,

100-95 A+ and accurate contents.
2. She/he observes always the logic in paragraph development &
organization.
3. She/he observes always the appropriate transitional expressions &
words.
4. She/he applies always the rules of English grammar.

1. The student includes often meaningful, substantial, relevant,

informative, and accurate contents.
94-90 A- 2. She/he observes often the logic in paragraph development &
organization.
3. She/he observes often the appropriate transitional expressions &
words.
4. She/he applies often the rules of English grammar.

1. The student includes fairly meaningful, substantial, relevant,

informative, and accurate contents.
89-85 B+ 2. She/he observes fairly the logic in paragraph development &
organization.
3. She/he observes fairly the appropriate transitional expressions &
words.
4. She/he applies fairly the rules of English grammar.

1.The student includes seldom meaningful, substantial, relevant,

informative, and accurate contents.
84-80 B- 2. She/he observes seldom the logic in paragraph development &
organization.
3. She/he observes seldom the appropriate transitional expressions &
words.
4. She/he applies seldom the rules of English grammar.

1.The student includes poorly meaningful, substantial, relevant,

informative, and accurate contents.
79-75 C+ 2. She/he observes poorly the logic in paragraph development &
organization.
3. She/he observes poorly the appropriate transitional expressions &
words.
4. She/he applies poorly the rules of English grammar.

1. No attempt to respond to the written task.

74-65 C- 2. No effort can be gleaned from the student to meet the writing task.

END of LEARNING MODULE 3