Learning Module

&
Activity Sheets

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MOST ESSENTIAL LEARNING COMPETENCIES

ENGLISH – 3rd QUARTER

CONTENT STANDARD

The learner demonstrates understanding of how world literature and other text types serve as
sources of wisdom in expressing and resolving conflicts among individuals, groups and nature; also how
to use evaluative reading, listening and viewing strategies, special speeches for occasion, pronouns and
structures of modification.

PERFORMANCE STANDARD

The learner skillfully delivers a speech for a special occasion through utilizing effective verbal and
non-verbal strategies and ICT resources.

Quarter Domain Code Learning Competencies

Quarter Writing and EN10WC- Compose an independent critique of a chosen
3 Composition (WC) IIIg-14 selection
Critique a literary selection based on the
following approaches:
-structuralist/formalist
-moralist
-Marxist
-feminist
-historical
-reader-response
Grammar Awareness EN10G-IIIa-31
(G) Use pronouns effectively
Grammar Awareness EN10G-IIIe-30 Use structures of modification
(G)

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3rd QUARTER ACTIVITY CHECKLIST IN ENGLISH – REGULAR CLASS

*Note: Only submit the checklist of the week’s activities you were supposed to pass. You may cut this so
you can keep track of the things you still need to accomplish for the following weeks.

WEEK 1

 LITERARY CRITICISM ACTIVITY 1.

 LITERARY CRITICISM ACTIVITY 2.

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WEEK 2-3

 LITERARY CRITICISM ACTIVITY 3.

 LITERARY CRITICISM ACTIVITY 4.
 LITERARY CRITICISM ACTIVITY 5.

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WEEK 4
 LITERARY CRITICISM ACTIVITY 6.
 LITERARY CRITICISM ACTIVITY 7.
 LITERARY CRITICISM ACTIVITY 8.

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WEEK 5-6
 ACTIVITY 1
 ACTIVITY 2
 ACTIVITY 3
 ACTIVITY 4
 ACTIVITY 5
 FINAL TASK: ROAST SPEECH
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3rd QUARTER ACTIVITY CHECKLIST IN RESEARCH – REGULAR CLASS

WEEK 1-2
 ACTIVITY 1. CHAPTER II: REVIEW OF RELATED LITERATURE AND STUDIES
WEEK 3
 ACTIVITY 2. CHAPTER III: RESEARCH METHODOLOGY
WEEK 4-5
 ACTIVITY 3. QUESTIONNAIRE

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PRETEST

Directions: Read each question carefully and choose your answer from the given options.

1. These are the different perspectives we consider when looking at a piece of literature.

a. Literary Theories
b. Literary Criticisms
c. Critical approach

2. They seek to give us answers to these questions, in addition to aiding us in interpreting literature
except...

a. Why do we read
b. How do we read
c. When do we read
d. What do we read

3. The Criticism that asserts that a great deal of meaning in a text lies with how the reader responds to it.

a. Reader-Response c. Responsive-Reading
b. Reading-Response d. Reading-Response

4. Deals more with the process of creating meaning and experiencing a text as we read. A text is an
experience, not an object.

a. Reader-Response
b. Formalist
c. Combination of Reader and Formalist

5. It emphasizes the form of a literary work to determine its meaning, focusing on literary elements and
how they work to create meaning.

a. Formalist
b. Feminist
c. Archetypal
d. Historical

6. Examines a text as independent from its time period, social setting, and author’s background. A text is
an independent entity.

a. Formalist
b. Feminist
c. Historical
d. Marxist

7. Concerned with understanding the role of power, politics, and money in literary texts

a. Feminist
b. Marxist
c. Marxism
d. Feminism

8. Criticism is concerned with the role, position, and influence of women in a literary text.

a. Marxist
b. Feminist
c. Gender

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9. The principal made Jayden and ____ repair the damage to the auditorium wall.

a. me b. I

10. The family's running out of money, but that's a secret between his mother and

a. he b. him

11. In the word "mountain bike", which is the modifier?

a. mountain b. bike

12. The flowers are really ____________ decorative.

a. fantastic b. fantastically c. fantasizing d. fantastingly

13. This one is ____ expensive.

a. rather too b. entirely c. gold d. awesome

14. What is the structure of this compound word - mountain bike?

a. noun + noun c. noun + adjective

b. noun + adverb c. noun + prepositional phrase

15. What part of speech is used in this sentence as a noun modifier?

“The charming boy is the President’s son.”

a. verb c. adverb

b. adjective c. prepositional phrase

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LITERARY CRITICISM – WEEK 1

Learning Competency:

Critique a literary selection based on the structuralist and

formalist approaches to literary criticism

Topic:

LESSON 1: Literary Criticism

Structuralist Criticism

Formalist Criticism

Literary Criticism is the practice of studying, evaluating, and interpreting works of literature.
Similar to literary theory, which provides a broader philosophical framework for how to analyze literature,
literary criticism offers readers new ways to understand an author’s work.

Literary criticism is NOT a plot summary, a biography of the author, or simply finding fault
with the literature. Researching, reading, and writing works of literary criticism will help you to make
better sense of the work, form judgments about literature, study ideas from different points of view, and
determine on an individual level whether a literary work is worth reading.

What Is the Purpose of Literary Criticism?

The purpose of literary criticism is to broaden a reader’s understanding of an author’s work by

summarizing, interpreting, and exploring its value. After giving the text a close reading, a critic formulates
a comprehensive literary analysis that can inform or challenge another reader’s understanding of the text.
The practice of literary criticism creates space for readers to better understand the beauty and complexity
of the world through literature.

Explore the wide variety of approaches to literary criticism. Some Traditional Critical Approaches are:

1. Structuralist Criticism: This is the observation of the utilization of linguistics (the study of
language) and semiotics (the study of signs and symbols) to portray the major ideas in a piece of
work. It says that all text is part of a bigger picture because of symbols and signs. Despite the
diversity of those structures, all of them have some common and necessary properties.

An example are typical horror stories. Almost all horror stories follow the same pattern. You start
out with an innocent person going about their daily lives, they then hear a strange sound either
outside or on the other side of a door. They go to check out the sound and are brutally murdered.
The end.
Another example are love stories. The main character somehow meets the love of their life. They
experience a whirlwind relationship but are torn apart for some reason. They eventually reunite,
get married and then die. The end.
Analyzing the symbols and signs found in typical plots such as these is how Structuralists
determine the function of the text.

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How to Use Structuralist Criticism When Analyzing a Text
• Read the piece and look for specific patterns, repetitions, and contrasts in characters, locations,
objects, language used, and decisions made.
• Next, explore the similarities and differences that help tie together the story’s events. By
analyzing the devices for metaphorical content, the reader can try to find allusions and
connections to other pieces and events.
• Finally, formulate a claim on what the text’s function is (not its meaning!!) based off the
observations made in the previous steps. In this criticism, the text’s function IS its meaning.

Literary Criticism Activity 1. Read the story below entitled “The Story of an Hour” by
Kate Chopin. A brief biography of the author is also included. Answer the guide questions
that follows.

Kate Chopin (1850–1904) is an American writer best known for her

stories about the inner lives of sensitive, daring women.

Her novel The Awakening and her short stories are read today
in countries around the world, and she is widely recognized as one of
America’s essential authors. Her short stories were well received in the
1890s and were published by some of America’s most prestigious
magazines.

Twenty-six of her stories are children’s stories—those

published in or intended for children’s or family magazines. By the late
1890s Kate Chopin was well known among American readers of
magazine fiction.

The Story of An Hour

Knowing that Mrs. Mallard was afflicted with a heart trouble, great care was taken to break to her as gently as
possible the news of her husband's death.

It was her sister Josephine who told her, in broken sentences; veiled hints that revealed in half concealing. Her
husband's friend Richards was there, too, near her. It was he who had been in the newspaper office when intelligence
of the railroad disaster was received, with Brently Mallard's name leading the list of "killed." He had only taken the
time to assure himself of its truth by a second telegram, and had hastened to forestall any less careful, less tender
friend in bearing the sad message.

She did not hear the story as many women have heard the same, with a paralyzed inability to accept its significance.
She wept at once, with sudden, wild abandonment, in her sister's arms. When the storm of grief had spent itself she
went away to her room alone. She would have no one follow her.

There stood, facing the open window, a comfortable, roomy armchair. Into this she sank, pressed down by a physical
exhaustion that haunted her body and seemed to reach into her soul.

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She could see in the open square before her house the tops of trees that were all aquiver with the new spring life.
The delicious breath of rain was in the air. In the street below a peddler was crying his wares. The notes of a distant
song which some one was singing reached her faintly, and countless sparrows were twittering in the eaves.

There were patches of blue sky showing here and there through the clouds that had met and piled one above the
other in the west facing her window.

She sat with her head thrown back upon the cushion of the chair, quite motionless, except when a sob came up into
her throat and shook her, as a child who has cried itself to sleep continues to sob in its dreams.

She was young, with a fair, calm face, whose lines bespoke repression and even a certain strength. But now there
was a dull stare in her eyes, whose gaze was fixed away off yonder on one of those patches of blue sky. It was not
a glance of reflection, but rather indicated a suspension of intelligent thought.

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too
subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the
scents, the color that filled the air.

Now her bosom rose and fell tumultuously. She was beginning to recognize this thing that was approaching to
possess her, and she was striving to beat it back with her will--as powerless as her two white slender hands would
have been. When she abandoned herself a little whispered word escaped her slightly parted lips. She said it over and
over under her breath: "free, free, free!" The vacant stare and the look of terror that had followed it went from her
eyes. They stayed keen and bright. Her pulses beat fast, and the coursing blood warmed and relaxed every inch of
her body.

She did not stop to ask if it were or were not a monstrous joy that held her. A clear and exalted perception enabled
her to dismiss the suggestion as trivial. She knew that she would weep again when she saw the kind, tender hands
folded in death; the face that had never looked save with love upon her, fixed and gray and dead. But she saw beyond
that bitter moment a long procession of years to come that would belong to her absolutely. And she opened and
spread her arms out to them in welcome.

There would be no one to live for during those coming years; she would live for herself. There would be no powerful
will bending hers in that blind persistence with which men and women believe they have a right to impose a private
will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked
upon it in that brief moment of illumination.

And yet she had loved him--sometimes. Often she had not. What did it matter! What could love, the unsolved
mystery, count for in the face of this possession of self-assertion which she suddenly recognized as the strongest
impulse of her being!

"Free! Body and soul free!" she kept whispering.

Josephine was kneeling before the closed door with her lips to the keyhold, imploring for admission. "Louise, open
the door! I beg; open the door--you will make yourself ill. What are you doing, Louise? For heaven's sake open the
door."

"Go away. I am not making myself ill." No; she was drinking in a very elixir of life through that open window.

Her fancy was running riot along those days ahead of her. Spring days, and summer days, and all sorts of days that
would be her own. She breathed a quick prayer that life might be long. It was only yesterday she had thought with
a shudder that life might be long.

She arose at length and opened the door to her sister's importunities. There was a feverish triumph in her eyes, and
she carried herself unwittingly like a goddess of Victory. She clasped her sister's waist, and together they descended
the stairs. Richards stood waiting for them at the bottom.

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Some one was opening the front door with a latchkey. It was Brently Mallard who entered, a little travel-stained,
composedly carrying his grip-sack and umbrella. He had been far from the scene of the accident, and did not even
know there had been one. He stood amazed at Josephine's piercing cry; at Richards' quick motion to screen him
from the view of his wife.

When the doctors came they said she had died of heart disease--of the joy that kills.

Answer the following questions:

1. What patterns in the text reveal its similarities to other texts?

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2. What binary oppositions (e.g., light/dark, good/evil, old/young, masculine/feminine, and

natural/artificial, etc.) operate in the text?

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2. Formalist Criticism: Formalism compels readers to judge the artistic merit of literature by examining
its formal elements, like language and technical skill. This studies a text as only a text, considering its
features, such as rhymes, cadences, and literary devices, in an isolated way, not attempting to apply their
own opinion as to what the text means. In general, formalists are focused on the facts of a text because
they want to study the text, not what others say about it.

How to Use Formalism When Analyzing a Text:

• Must first be a close or careful reader who examines all the elements of a text individually
• Questions how they come together to create a work of art
• Respects the autonomy of work
• Achieves understanding of it by looking inside it, not outside or beyond
• Allow the text to reveal itself
• The text is a self-contained entity
• Analyze how the elements work together to form unity of form.

Literary Criticism Activity 2. Read the poem in the next page entitled “The Nymph
Complaining for the Death of Her Fawn”, and answer the given formalist questions about
it. The brief biography of the author is also stated here.

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Andrew Marvell, (born March 31, 1621, Winestead, Yorkshire, England—died August 18, 1678,
London), English poet whose political reputation overshadowed that of his poetry until the 20th century.
He is now considered to be one of the best Metaphysical poets.

Marvell was educated at Hull grammar school and Trinity College, Cambridge, taking a B.A. in 1639. In
1659 he was elected member of Parliament for Hull, an office he held until his death, serving skillfully
and effectively. Marvell is also said to have interceded on behalf of Milton to have him freed from prison
in 1660. He wrote a commendatory poem for the second edition of Milton’s Paradise Lost. His political
writings favoured the toleration of religious dissent and attacked the abuse of monarchical power. At
Marvell’s death, his housekeeper-servant Mary Palmer claimed to be his widow, although this was
undoubtedly a legal fiction. The first publication of his poems in 1681 resulted from a manuscript volume
she found among his effects.

The Nymph Complaining for the Death of her Fawn

Andrew Marvell

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Answer the following Formalist Questions:

1. How do the parts of the text work together to make an inseparable whole (organic unity)?
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2. In poetry, how do the rhyme scheme and/or metric patterns contribute to the meaning or overall
effect of the text?
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LITERARY CRITICISM – WEEK 2-3

Learning Competency:

Critique a literary selection based on the Moralist, Marxist, and Feminist

approaches to literary criticism

Topic:

LESSON 2: Moralist Criticism

Marxist Criticism

Feminist Criticism

3. Moralist Criticism: This literary criticism style approaches literature based on its ethical merits.
Moralist critics evaluate literary works based on the moral statements and judgments the characters and
author express throughout the literary text. In simpler terms, it determines the worth of literature by seeing
if it encourages good out of the reader.

Literary Criticism Activity 3. Read the story below entitled “The Tortoise and the Hare”.
Answer the guide questions that follows.

Aesop's The Tortoise and the Hare is a prominent moral fable in American cultural
discourse. Having originated in ancient Greece, the fa-ble has varied over the years,
but the basic elements remain the same. The story, as it is generally told, involves a
tortoise and a hare as its two main protagonists. The hare is arrogant; he continually
boasts about his speed and picks on the tortoise for being slow. The tortoise grows tired
of the hare's boasting and questions the hare's claim of being the fastest creature. In
retort, the hare decides to challenge the tortoise to a race in which he feels sure that
he will be victorious.

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The Tortoise and the Hare

A Hare was making fun of the Tortoise one day for being so slow.

"Do you ever get anywhere?" he asked with a mocking laugh.

"Yes," replied the Tortoise, "and I get there sooner than you think. I'll run you a race and prove it."

The Hare was much amused at the idea of running a race with the Tortoise, but for the fun of the thing he agreed.
So the Fox, who had consented to act as judge, marked the distance and started the runners off.

The Hare was soon far out of sight, and to make the Tortoise feel very deeply how ridiculous it was for him to try a
race with a Hare, he lay down beside the course to take a nap until the Tortoise should catch up.

The Tortoise meanwhile kept going slowly but steadily, and, after a time, passed the place where the Hare was
sleeping. But the Hare slept on very peacefully; and when at last he did wake up, the Tortoise was near the goal.
The Hare now ran his swiftest, but he could not overtake the Tortoise in time.

The race is not always to the swift.

Answer the following moralist guide questions:

1. What enduring truth is revealed in the theme of this work?

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2. How are the actions of the protagonist rewarded and the actions of the antagonist punished?

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3. What moral lesson or ethical teaching is the author presenting in the text/or through character, plot, or
theme?

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4. Marxist Criticism: This approach
examines how the text represents and
treats the power dynamics between
social classes. This is because it
operates based on the perspective and
principles of the namesake itself a
movement based on the theories and
social examinations of Karl Marx.
Marxist literary criticism examines
economic and other class differences
in a text, as well as the way that the
economic and power hierarchy in the
world of the text is structured.
Interestingly, this focus for literature
and art was already built into Marx’s
theory about society in general, as he
believed that conflict among classes –
the elite, the middle class, the working
class – would always be present,
leading to a cycle of revolution.

Literary Criticism Activity

4. Romeo and Juliet is a
tragedy written by William
Shakespeare about two young
star-crossed lovers who are
caught between the disputes of
their families. A brief history
of the author is given below as
well as the summary of the
plot. Answer the questions that
follow after reading the
summary.

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Plot Summary

The Montague and Capulet families are at war and have had another fight. The Prince, who keeps the
peace in Verona, says that if there are any further fights the head of the houses will be killed.

Romeo, a Montague, and Juliet, a Capulet, meet at a party at the Capulets' house and they kiss. Romeo
shouldn't be there and Juliet's cousin Tybalt sees him and decides to get revenge for the insult. Romeo
sneaks into the Capulet orchard to see Juliet and they declare their love for each other and decide to get
married and be together. They get married in secret with the help of Juliet’s nurse and Friar Laurence.

Another fight breaks out in Verona and Tybalt kills Romeo's friend Mercutio. Romeo had tried to
prevent the fight but, after Mercutio's death, he kills Tybalt. The Prince banishes Romeo from Verona
because of what he has done. Juliet is distraught by the news of Tybalt’s death and Romeo being
banished. Lord Capulet tells Juliet she must marry a man called Paris, not knowing she is already
married. Friar Laurence gives Juliet a potion that will make her appear dead so she does not have to
marry again. He sends Romeo a note to explain the plan and Juliet takes the potion. Her body is moved
to the family tomb. Romeo does not receive the note about the potion from Friar Laurence and thinks
Juliet is really dead. He buys some poison and goes back to Verona. Romeo goes to the tomb and
realises he can't live without Juliet. He takes the poison and dies next to her. Juliet wakes up and sees
Romeo dead. She then kills herself with Romeo’s dagger.

The watch arrives, followed closely by the Prince, the Capulets, and Montague. Montague declares
that Lady Montague has died of grief over Romeo’s exile. Seeing their children’s bodies,
Capulet and Montague agree to end their long-standing feud and to raise gold statues
of their children side-by-side in a newly peaceful Verona.

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Answer the following Marxist criticism guide questions:

1. What social class is the author part of?

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2. What social class does the work supposedly represent?

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3. How do characters of different social classes interact or conflict?

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5. Feminist criticism: This is a form of literary criticism that's based on feminist theories. Broadly, it's
understood to be concerned with the politics of feminism, and it uses feminist principles to critique the
male-dominated literature. Feminist criticism's roots are in women's social, political, economic and
psychological oppression. By seeking to view women in a new perspective and discover women's
contributions to literary history, feminist criticism aims to reinterpret the old texts and establish the
importance of women's writing to save it from being lost or ignored in the male-dominated world. It also
seeks to establish female perspectives as being of equal importance relative to male perspectives.

Literary Criticism Activity 5. Read the summary of the short story entitled “The Yellow
Wallpaper”. Answer the guide questions that follows. For your reference, a brief biography
of the author is also provided.

The Yellow Wallpaper Summary

"The Yellow Wallpaper" details the deterioration

of a woman's mental health while she is on a "rest
cure" on a rented summer country estate with her
family. Her obsession with the yellow wallpaper
in her bedroom marks her descent into psychosis
from her depression throughout the story.

The narrator of "The Yellow Wallpaper" begins

the story by discussing her move to a beautiful
estate for the summer. Her husband, John, is also
her doctor, and the move is meant in part to help
the narrator overcome her “illness,” which she
explains as nervous depression, or nervousness,
following the birth of their baby. John’s sister,
Jennie, also lives with them and works as their
housekeeper.

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Though her husband believes she will get better with rest and by not worrying about anything, the narrator has an
active imagination and likes to write. He discourages her wonder about the house, and dismisses her interests. She
mentions her baby more than once, though there is a nurse that cares for the baby, and the narrator herself is too
nervous to provide care.

The narrator and her husband move into a large room that has ugly, yellow wallpaper that the narrator criticizes.
She asks her husband if they can change rooms and move downstairs, and he rejects her. The more she stays in the
room, the more the narrator’s fascination with the hideous wallpaper grows.

After hosting family for July 4th, the narrator expresses feeling even worse and more exhausted. She struggles to do
daily activities, and her mental state is deteriorating. John encourages her to rest more, and the narrator hides her
writing from him because he disapproves.

In the time between July 4th and their departure, the narrator is seemingly driven insane by the yellow wallpaper;
she sleeps all day and stays up all night to stare at it, believing that it comes alive, and the patterns change and move.
Then, she begins to believe that there is a woman in the wallpaper who alters the patterns and is watching her.

A few weeks before their departure, John stays overnight in town and the narrator wants to sleep in the room by
herself so she can stare at the wallpaper uninterrupted. She locks out Jennie and believes that she can see the woman
in the wallpaper. John returns and frantically tries to be let in, and the narrator refuses; John is able to enter the room
and finds the narrator crawling on the floor. She claims that the woman in the wallpaper has finally exited, and John
faints, much to her surprise.

Answer the following feminist criticism guide questions:

1. How is the relationship between men and women portrayed in the text?

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2. What are the power relationships present between men and women (or characters assuming such roles)
in the text?

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3. How are the roles for males and females defined?

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LITERARY CRITICISM – WEEK 4

Learning Competency:

Critique a literary selection based on the historical and reader-response

approaches to literary criticism

Topic:

LESSON 3: Historical Criticism

Reader-response Criticism

6. Historical Criticism: It is the historical approach to literary criticism. It involves looking beyond the
literature at the broader historical and cultural events occurring during the time the piece was written. For
example, historical-biographical critics evaluate Shakespeare’s work within the context of English
literature, history, and culture during the late sixteenth and early seventeenth centuries. An understanding
of the world the author lived in (events, ideologies, culture, lifestyle etc.) allows for a more comprehensive
understanding of the work.

Literary Criticism Activity 6. Read the selection below. Answer the questions that follow.
Some information that may help you analyze the text are also provided.

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English Translation of the Original Chinese Ballad of Mulan

Ching ching and ching ching, Mulan weaves in the house yet there is no weaving machine’s sound, only Mulan’s
sigh. “What is troubling you?” Mulan says, “Nothing, just...

“Last night, I read Khan’s official conscript. My old hobbled father’s name is on the 12 scrolls that list the names
of soldiers to be recruited.

“My father doesn’t have any sons old enough and I don’t have any older brothers, so I have decided to replace my
father to answer the call. I can get a horse from the east market, a saddle from the west market, a headstall and reins
from the south market, and a whip from the north market.

“I said farewell to my parents in the morning and by the evening I was sleeping by the Yellow River, which is miles
away from home.

“I can’t hear how heartbroken my family is and how much they are crying over my leaving; all I can hear is water
continually flowing in the river in front of me.

“I set off from the Yellow River the other morning and kept going toward the deep north until, by the evening, I had
reached the gloomy Black Mountain.

“I can’t hear how heartbroken my family is and how much they are crying over my leaving; all I can hear is the
northern Xiongnu invaders’ horses neighing fiercely.

“I ride for thousands of miles and pass through numerous barriers and blocks to fight at battlefields. At night, I’m
accompanied by cold midwinter howls and blue moonlight casting an icy glow on my heavy armor. Years of war
and hundreds of battles have cost many generals’ lives and leave the bravest warriors to return.

“We present ourselves to Khan in his splendid court. His majesty is rewarding us with titles, medals, and gifts. When
Khan asks me, ‘Mulan, what’s your wish?’, I reply, ‘I wish for no position in the court but a fast horse to take me
home’.

“My parents have come out to the village to greet me, my sisters are putting on their best makeup to see me, while
my youngest brother is preparing to butcher a pig for my return feast. I open my room’s window and sit on my bed,
remove my battle armor and change into my normal clothes, create a feminine hairstyle, and put on some makeup.

“Walking out to meet my war fellows, they are all shocked by the fact that ‘Mulan is a girl’, which they had failed
to find out during 12 years of living in the army.”

Only when you hold a rabbit in the air by its ears can you tell a male rabbit, which keeps trying to jump, while a
female rabbit’s eyes go dim and sleepy. If they run together on land, hardly anybody can tell the difference between
the male and the female.

Answer the following Historical criticism guide questions:

1. How are the interpretations of the events reflective of the author’s culture?
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2. Does the presentation in the work support or condemn a particular event, or leading political figures of
its time? Can the work be seen to do both?
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3. To what extent can we understand the past as it is reflected in the literary work?
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7. Reader-response Criticism – This suggests that the role of the reader is essential to the meaning of a
text, for only in the reading experience does the literary work come alive. For example, in Mary
Wollstonecraft Shelley’s Frankenstein (1818), the monster doesn’t exist, so to speak, until the reader
reads Frankenstein and reanimates it to life, becoming a co-creator of the text. Thus, the purpose of a
reading response is examining, explaining, and defending your personal reaction to a text.

Your critical reading of a text asks you to explore:

• why you like or dislike the text;

• explain whether you agree or disagree with the author;
• identify the text’s purpose; and
• critique the text.

There is no right or wrong answer to a reading response. Nonetheless, it is important that you demonstrate
an understanding of the reading and clearly explain and support your reactions. Do not use the standard
approach of just writing: “I liked this text because it is so cool and the ending made me feel happy,” or “I
hated it because it was stupid, and had nothing at all to do with my life, and was too negative and boring.”
In writing a response you may assume the reader has already read the text. Thus, do not summarize the
contents of the text at length. Instead, take a systematic, analytical approach to the text.

Literary Criticism Activity 7. In order to answer the reader-response criticism guide

questions on the next page, read the selection first. Take some time to read the brief biography
of the author given below.

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The Mother
By Gwendolyn Brooks

Abortions will not let you forget.

You remember the children you got that you did not get,
The damp small pulps with a little or with no hair,
The singers and workers that never handled the air.
You will never neglect or beat
Them, or silence or buy with a sweet.
You will never wind up the sucking-thumb
Or scuttle off ghosts that come.
You will never leave them, controlling your luscious sigh,
Return for a snack of them, with gobbling mother-eye.

I have heard in the voices of the wind the voices of my dim killed children.
I have contracted. I have eased
My dim dears at the breasts they could never suck.
I have said, Sweets, if I sinned, if I seized
Your luck
And your lives from your unfinished reach,
If I stole your births and your names,
Your straight baby tears and your games,
Your stilted or lovely loves, your tumults, your marriages, aches, and your deaths,
If I poisoned the beginnings of your breaths,
Believe that even in my deliberateness I was not deliberate.
Though why should I whine,
Whine that the crime was other than mine?—
Since anyhow you are dead.
Or rather, or instead,
You were never made.
But that too, I am afraid,
Is faulty: oh, what shall I say, how is the truth to be said?
You were born, you had body, you died.
It is just that you never giggled or planned or cried.

Believe me, I loved you all.

Believe me, I knew you, though faintly, and I loved, I loved you
All.

Answer the following Reader-response criticism guide questions:

1. What does the text have to do with you, personally, including your past, present, and future?

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____________________________________________________________________________________________
____________________________________________________________________________________________

2. Does the text reinforce or clash with your view of the world, and do you believe it is right or wrong
about that?

____________________________________________________________________________________
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____________________________________________________________________________________

3. How were your views and opinions challenged by this text, if at all? Did you change any of them, or
learn anything?

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Writing a Critique of Selection

One way to respond to a selection read is by writing a critique. This demonstrates a thorough
understanding of the material as well as critical thinking that allows you to weigh the substance and quality
of the text.

An important thing to remember is that a critique is not an exercise in finding fault with the text,
or simply reviewing it according to preference or taste. A critique is more in line with an evaluative
analysis, where the text is examined closely and its strengths and weaknesses are appraised.

In writing a critique, follow these steps:

1. Read and understand the text thoroughly. Choose a particular lens for reading the text – you have
encountered a few options in this unit – and use that lens’ focal points and questions to make sense of the
text. Make notes and annotate the text as you go along, so you have plenty of material for the next step.

2. Structure your critique. The framework for writing a critique is as follows:

A. Introduction. This is a short (about 10% of the whole composition) section where you must
identify the title and author of the work, briefly describe the context that informs the creation of
work, and state your thesis, or the overall evaluation of the work – what you feel its goal is and
whether or not it succeeded at that. The evaluation may be positive, negative, or mixed, but there
must be an evaluative stand. A neutral or opinionless evaluation is not much of a critique.

B. A summary of the work. The reader will need this information in order to understand your
analysis and evaluation afterwards, so include relevant plot elements, character details, and
information about the context of the work. Point out as well how the author accomplishes the goals
of the text, by naming techniques, styles, symbols, and so on where relevant. The rule of thumb for
this section is: if you will examine it in depth in the evaluation, or if the information helps the
evaluation section become clearer, it should be included here.

C. Critical Evaluation. This section should include an organized, detailed analysis of the work,
using your chosen lens, bearing out your thesis statement and providing supports for why you feel
the work succeeded at its goal or not. You must break down the strengths and weaknesses of the
work, using specific examples and evidence from the text. You may organize this section by
starting with the broader, larger scale impressions, and then moving on to the more specific,
technical points.

D. Conclusion. This is where you briefly summarize the points you have just made, leading to a
restatement of your verdict about the text.

LITERARY CRITICISM ACTIVITY 8. In this activity, you have to make an

independent critique of a literary piece. Choose ONE among these given literary
pieces below and choose the most appropriate approach for your selection. Use a
separate paper for your answer. These pieces will be provided by the teacher on the
following pages. A short video for each story will also be provided to help you out.

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Literary Pieces to choose from:

The Hunchback of Notre Dame

The Necklace by Guy de Maupassant

She was one of those pretty and charming

girls born, as though fate had blundered over her,
into a family of artisans. She had no marriage
portion, no expectations, no means of getting
known, understood, loved, and wedded by a man
of wealth and distinction; and she let herself be
married off to a little clerk in the Ministry of
Education. Her tastes were simple because she
had never been able to afford any other, but she
was as unhappy as though she had married
beneath her; for women have no caste or class,
their beauty, grace, and charm serving them for
birth or family. their natural delicacy, their
instinctive elegance, their nimbleness of wit, are
their only mark of rank, and put the slum girl on a
level with the highest lady in the land.

She suffered endlessly, feeling herself

born for every delicacy and luxury. She suffered
from the poorness of her house, from its mean
walls, worn chairs, and ugly curtains. All these
things, of which other women of her class would
not even have been aware, tormented and insulted
her. The sight of the little Breton girl who came to
do the work in her little house aroused heart-
broken regrets and hopeless dreams in her mind.
She imagined silent antechambers, heavy with
Oriental tapestries, lit by torches in lofty bronze
sockets, with two tall footmen in knee-breeches
sleeping in large arm-chairs, overcome by the heavy warmth of the stove. She imagined vast saloons hung with
antique silks, exquisite pieces of furniture supporting priceless ornaments, and small, charming, perfumed rooms,
created just for little parties of intimate friends, men who were famous and sought after, whose homage roused every
other woman's envious longings.

When she sat down for dinner at the round table covered with a three-days-old cloth, opposite her husband, who
took the cover off the soup-tureen, exclaiming delightedly: "Aha! Scotch broth! What could be better?" she imagined
delicate meals, gleaming silver, tapestries peopling the walls with folk of a past age and strange birds in faery forests;
she imagined delicate food served in marvellous dishes, murmured gallantries, listened to with an inscrutable smile
as one trifled with the rosy flesh of trout or wings of asparagus chicken. She had no clothes, no jewels, nothing. And
these were the only things she loved; she felt that she was made for them. She had longed so eagerly to charm, to be

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desired, to be wildly attractive and sought after. She had a rich friend, an old school friend whom she refused to
visit, because she suffered so keenly when she returned home. She would weep whole days, with grief, regret,
despair, and misery.

One evening her husband came home with an exultant air, holding a large envelope in his hand.

“Here's something for you," he said. Swiftly she tore the paper and drew out a printed card on which were these
words: "The Minister of Education and Madame Ramponneau request the pleasure of the company of Monsieur and
Madame Loisel at the Ministry on the evening of Monday, January the 18th." Instead of being delighted, as her-
husband hoped, she flung the invitation petulantly across the table, murmuring: "What do you want me to do with
this?"

"Why, darling, I thought you'd be pleased. You never go out, and this is a great occasion. I had tremendous trouble
to get it. Every one wants one; it's very select, and very few go to the clerks. You'll see all the really big people
there."

She looked at him out of furious eyes, and said impatiently: "And what do you suppose I am to wear at such an
affair?"

He had not thought about it; he stammered: "Why, the dress you go to the theatre in. It looks very nice, to me...."

He stopped, stupefied and utterly at a loss when he saw that his wife was beginning to cry. Two large tears ran
slowly down from the corners of her eyes towards the corners of her mouth.

"What's the matter with you? What's the matter with you?" he faltered.

But with a violent effort she overcame her grief and replied in a calm voice, wiping her wet cheeks: "Nothing. Only
I haven't a dress and so I can't go to this party. Give your invitation to some friend of yours whose wife will be
turned out better than I shall."

He was heart-broken.

"Look here, Mathilde," he persisted. What would be the cost of a suitable dress, which you could use on other
occasions as well, something very simple?"

She thought for several seconds, reckoning up prices and also wondering for how large a sum she could ask without
bringing upon herself an immediate refusal and an exclamation of horror from the careful-minded clerk. At last she
replied with some hesitation: "I don't know exactly, but I think I could do it on four hundred francs."

He grew slightly pale, for this was exactly the amount he had been saving for a gun, intending to get a little shooting
next summer on the plain of Nanterre with some friends who went lark-shooting there on Sundays. Nevertheless he
said: "Very well. I'll give you four hundred francs. But try and get a really nice dress with the money."

The day of the party drew near, and Madame Loisel seemed sad, uneasy and anxious. Her dress was ready, however.
One evening her husband said to her: "What's the matter with you? You've been very odd for the last three days."

"I'm utterly miserable at not having any jewels, not a single stone, to wear," she replied. "I shall look absolutely no
one. I would almost rather not go to the party."

"Wear flowers," he said. "They're very smart at this time of the year. For ten francs you could get two or three
gorgeous roses."

She was not convinced. "No . . . there's nothing so humiliating as looking poor in the middle of a lot of rich women."

"How stupid you are!" exclaimed her husband. "Go and see Madame Forestier and ask her to lend you some jewels.
You know her quite well enough for that."

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She uttered a cry of delight. "That's true. I never thought of it."

Next day she went to see her friend and told her her trouble. Madame Forestier went to her dressing-table, took up
a large box, brought it to Madame Loisel, opened it, and said: "Choose, my dear."

First, she saw some bracelets, then a pearl necklace, then a Venetian cross in gold and gems, of exquisite
workmanship. She tried the effect of the jewels before the mirror, hesitating, unable to make up her mind to leave
them, to give them up. She kept on asking: "Haven't you anything else?"

"Yes. Look for yourself. I don't know what you would like best."

Suddenly she discovered, in a black satin case, a superb diamond necklace; her heart began to beat covetousIy. Her
hands trembled as she lifted it. She fastened it round her neck, upon her high dress, and remained in ecstasy at sight
of herself. Then, with hesitation, she asked in anguish: "Could you lend me this, just this alone?"

"Yes, of course."

She flung herself on her friend's breast, embraced her frenziedly, and went away with her treasure. The day of the
party arrived. Madame Loisel was a success. She was the prettiest woman present, elegant, graceful, smiling, and
quite above herself with happiness. All the men stared at her, inquired her name, and asked to be introduced to her.
All the Under-Secretaries of State were eager to waltz with her. The Minister noticed her. She danced madly,
ecstatically, drunk with pleasure, with no thought for anything, in the triumph of her beauty, in the pride of her
success, in a cloud of happiness made up of this universal homage and admiration, of the desires she had aroused,
of the completeness of a victory so dear to her feminine heart. She left about four o'clock in the morning. Since
midnight her husband had been dozing in a deserted little room, in company with three other men whose wives were
having a good time. He threw over her shoulders the garments he had brought for them to go home in, modest
everyday clothes, whose poverty clashed with the beauty of the ball-dress. She was conscious of this and was anxious
to hurry away, so that she should not be noticed by the other women putting on their costly furs. Loisel restrained
her.

"Wait a little. You'll catch cold in the open. I'm going to fetch a cab."

But she did not listen to him and rapidly descended-the staircase. When they were out in the street they could not
find a cab; they began to look for one, shouting at the drivers whom they saw passing in the distance. They walked
down towards the Seine, desperate and shivering. At last they found on the quay one of those old night prowling
carriages which are only to be seen in Paris after dark, as though they were ashamed of their shabbiness in the
daylight. It brought them to their door in the Rue des Martyrs, and sadly they walked up to their own apartment. It
was the end, for her. As for him, he was thinking that he must be at the office at ten.
She took off the garments in which she had wrapped her shoulders, so as to see herself in all her glory before the
mirror. But suddenly she uttered a cry. The necklace was no longer round her neck!

"What's the matter with you?" asked her husband, already half undressed. She turned towards him in the utmost
distress. "I . . . I . . . I've no longer got Madame Forestier's necklace. . . ."

He started with astonishment. "What! . . . Impossible!"

They searched in the folds of her dress, in the folds of the coat, in the pockets, everywhere. They could not find it.

"Are you sure that you still had it on when you came away from the ball?" he asked.

"Yes, I touched it in the hall at the Ministry."

"But if you had lost it in the street, we should have heard it fall."

"Yes. Probably we should. Did you take the number of the cab?"

"No. You didn't notice it, did you?"

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"No." They stared at one another, dumbfounded. At last, Loisel put on his clothes again. "I'll go over all the ground
we walked," he said, "and see if I can't find it."

And he went out. She remained in her evening clothes, lacking strength to get into bed, huddled on a chair, without
volition or power of thought. Her husband returned about seven. He had found nothing. He went to the police station,
to the newspapers, to offer a reward, to the cab companies, everywhere that a ray of hope impelled him. She waited
all day long, in the same state of bewilderment at this fearful catastrophe. Loisel came home at night, his face lined
and pale; he had discovered nothing. "You must write to your friend," he said, "and tell her that you've broken the
clasp of her necklace and are getting it mended. That will give us time to look about us." She wrote at his dictation.
***
By the end of a week they had lost all hope. Loisel, who had aged five years, declared: "We must see about replacing
the diamonds." Next day they took the box which had held the necklace and went to the jewelers whose name was
inside. He consulted his books. "It was not I who sold this necklace, Madame; I must have merely supplied the
clasp." Then they went from jeweler to jeweler, searching for another necklace like the first, consulting their
memories, both ill with remorse and anguish of mind.In a shop at the Palais-Royal they found a string of diamonds
which seemed to them exactly like the one they were looking for. It was worth forty thousand francs. They were
allowed to have it for thirty-six thousand. They begged the jeweler not to sell it for three days. And they arranged
matters on the understanding that it would be taken back for thirty-four thousand francs, if the first one were found
before the end of February.

Loisel possessed eighteen thousand francs left to him by his father. He intended to borrow the rest. He did borrow
it, getting a thousand from one man, five hundred from another, five louis here, three louis there. He gave notes of
hand, entered into ruinous agreements, did business with usurers and the whole tribe of money-lenders. He
mortgaged the whole remaining years of his existence, risked his signature without even knowing it he could honour
it, and, appalled at the agonising face of the future, at the black misery about to fall upon him, at the prospect of
every possible physical privation and moral torture, he went to get the new necklace and put down upon the jeweler's
counter thirty-six thousand francs. When Madame Loisel took back the necklace to Madame Forestier, the latter
said to her in a chilly voice: "You ought to have brought it back sooner; I might have needed it." She did not, as her
friend had feared, open the case. If she had noticed the substitution, what would she have thought? What would she
have said? Would she not have taken her for a thief?

***
Madame Loisel came to know the ghastly life of abject poverty. From the very first she played her part heroically.
This fearful debt must be paid off. She would pay it. The servant was dismissed. They changed their flat; they took
a garret under the roof. She came to know the heavy work of the house, the hateful duties of the kitchen. She washed
the plates, wearing out her pink nails on the coarse pottery and the bottoms of pans. She washed the dirty linen, the
shirts and dish-cloths, and hung them out to dry on a string; every morning she took the dustbin down into the street
and carried up the water, stopping on each landing to get her breath. And, clad like a poor woman, she went to the
fruiterer, to the grocer, to the butcher, a basket on her arm, haggling, insulted, fighting for every wretched halfpenny
of her money. Every month notes had to be paid off, others renewed, time gained. Her husband worked in the
evenings at putting straight a merchant's accounts, and often at night he did copying at two pence-halfpenny a page.
And this life lasted ten years. At the end of ten years everything was paid off, everything, the usurer's charges and
the accumulation of superimposed interest.

Madame Loisel looked old now. She had become like all the other strong, hard, coarse women of poor households.
Her hair was badly done, her skirts were awry, her hands were red. She spoke in a shrill voice, and the water slopped
all over the floor when she scrubbed it. But sometimes, when her husband was at the office, she sat down by the
window and thought of that evening long ago, of the ball at which she had been so beautiful and so much admired.
What would have happened if she had never lost those jewels. Who knows? Who knows? How strange life is, how
fickle! How little is needed to ruin or to save!

One Sunday, as she had gone for a walk along the Champs-Elysees to freshen herself after the labours of the week,
she caught sight suddenly of a woman who was taking a child out for a walk. It was Madame Forestier, still young,
still beautiful, still attractive. Madame Loisel was conscious of some emotion. Should she speak to her? Yes,
certainly. And now that she had paid, she would tell her all. Why not? She went up to her.

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"Good morning, Jeanne." The other did not recognise her, and was surprised at being thus familiarly addressed by
a poor woman. "But . . . Madame . . ." she stammered. "I don't know . . . you must be making a mistake."

"No . . . I am Mathilde Loisel." Her friend uttered a cry.

"Oh! . . . my poor Mathilde, how you have changed! . . ."

"Yes, I've had some hard times since I saw you last; and many sorrows . . . and all on your account."

"On my account! . . . How was that?"

"You remember the diamond necklace you lent me for the ball at the Ministry?"

"Yes. Well?"

"Well, I lost it."

"How could you? Why, you brought it back."

"I brought you another one just like it. And for the last ten years we have been paying for it. You realise it wasn't
easy for us; we had no money. . . . Well, it's paid for at last, and I'm glad indeed."

Madame Forestier had halted. "You say you bought a diamond necklace to replace mine?"

"Yes. You hadn't noticed it? They were very much alike." And she smiled in proud and innocent happiness.

Madame Forestier, deeply moved, took her two hands. "Oh, my poor Mathilde! But mine was imitation. It was worth
at the very most five hundred francs! . . . "

The Hunchback of Notre Dame by Victor Hugo

It was January 6th, 1482, and a crowd of

Parisians are celebrating the Festival of Fools by
waiting for a play to begin. It's been written by
the obliviously untalented Pierre Gringoire. But a
series of distractions ensue, and instead of watching
the play, the crowd ends up holding a contest for the
ugliest Pope of Fools. The honor is given to
Quasimodo, the bell-ringer of Notre-Dame.
Gringoire, intent on escaping the festivities, finds
himself in the very heart of it at the Place de
Grève, where a beautiful gypsy named Esmeralda
is dancing and performing tricks with her pet goat,
Djali. Esmeralda has two hecklers: a bald priest and
a crazy old woman. Just then, the procession of the Pope
of Fools enters the Place de Grève with Quasimodo as its
centerpiece, and the bald priest from earlier, whom Gringoire recognizes as the Archdeacon Claude Frollo, puts a
stop to it all by scolding Quasimodo. Turns out Frollo is Quasimodo's master. The two of them leave. Gringoire
decides to follow Esmeralda and inadvertently witnesses her attempted kidnapping by Quasimodo and another man.
He tries to intervene but gets knocked out. Luckily, a handsome captain named Phœbus comes to Esmeralda's rescue
and arrests Quasimodo.

When Gringoire comes to, he wanders the streets and accidentally finds himself in the Cour des Miracles,
where all the underbelly of Paris hangs out. Their king, Clopin Trouillefou, plans on hanging Gringoire unless one
of the gypsy women is willing to marry him. Esmeralda steps up. Sixteen years earlier, a severely deformed
foundling was left at Notre-Dame. He was adopted by a younger Claude Frollo, who sympathized with the boy out

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of love for his other adopted child: his infant brother Jehan. Fast-forward sixteen years, and Quasimodo is extremely
devoted to Frollo. Frollo, unfortunately, has gotten meaner and darker with age. He is obsessed with alchemy, and
he hates women—particularly gypsies.

One night, about a year before the events of the novel, Frollo receives a visit from the King's physician and
another guest. They discuss the legitimacy of alchemy, science, medicine, and astrology. It is revealed at the guest's
departure that he is in fact Louis XI, the King of France. During the meeting, Frollo makes a passing comment about
how the printing press will destroy the cathedral. The narrator gives a lecture on that. Back to plot. Quasimodo is
brought to trial, and unfortunately, both he and his judge are deaf. Hilarity ensues in the courtroom, but as a result,
Quasimodo is sentenced to a flogging and two hours in the pillory.

Meanwhile, three women and a young boy discuss the story of Paquette la Chantefleurie, a woman of, um,
loose virtue, whose beautiful baby girl was taken and probably eaten by gypsies fifteen years ago. In the infant's
place, they left a deformed child. A woman who has holed herself up in the "Rat Hole" at the Place de Grève for the
past fifteen years turns out to be this same Paquette, and the three women are bringing a cake to her. Oh, and this
woman—known as the Sack Woman—hates Esmeralda.
Quasimodo is brought to the Place de Grève and flogged. While the crowd harasses him, he asks for some water.
Esmeralda alone heeds his plea and gives him some water.

A few weeks later, Captain Phœbus is sitting with his betrothed and her embroidering circle, and he is bored
to death. He hears the sound of a tambourine in the square below and recognizes Esmeralda. The girls get Esmeralda
to come up and dance for them, but they get totally jealous of her beauty when she arrives. One of the girls lures
Djali, Esmeralda's goat, into a corner, and the goat performs one of her tricks by spelling out the word "Phœbus"
with lettered tiles. The girls throw Esmeralda out, and Phœbus follows her.

While Esmeralda was dancing in the square, Frollo had been watching her from his cell in Notre-Dame. He
sees that she is with a strangely dressed man, and hurries downstairs to see what's up. On his way down, he notices
that Quasimodo is staring down at the square as well. Frollo recognizes the strangely dressed man as Gringoire, who
has become one of the Tramps. When Frollo hears that Gringoire is now Esmeralda's husband, he flips out and keeps
questioning Gringoire about whether he has slept with her.

One day in March, Frollo's dissolute, broke younger brother Jehan decides to go ask his brother for some
money. While he's with his brother in his cell, another man visits, and Frollo has Jehan hide. The second man talks
some shady alchemy business with Frollo but then mentions Frollo's request to arrest Esmeralda as a sorceress.
Frollo turns pale at this and diverts the question. Seeing a fly caught in a spider's web, he goes on a tirade about fate.
When the two men leave, Jehan crawls out of his hiding place and meets up with Phœbus. The two go get drunk
together before Phœbus's hot date with Esmeralda that night. On his way to his rendezvous he is accosted by a
hooded figure, who questions him and then gives him money to pay for a room—so long as the hooded figure can
hide in the closet and watch. Weird? Nasty? Yup, but Phœbus, not being the brightest crayon in the box, goes along
with it. Phœbus gets Esmeralda into his room and is in the process of seducing her when he is stabbed by Frollo.
Esmeralda sees Frollo's face and feels him kiss her as she faints. When she wakes up, she is being accused of stabbing
Phœbus.

Esmeralda disappears for a month, and then she is brought to trial. It looks like witchcraft to the judges, but
Esmeralda refuses to confess to the murder, so they have her tortured. She confesses immediately and is sentenced
to be hanged. Esmeralda is taken to an underground prison, where Frollo comes to see her. He says that she is going
to be killed tomorrow; then he confesses his love for her and begs her to come away with him. Esmeralda is disgusted
and refuses. Enraged, Frollo tells her that Phœbus is dead. Phœbus, meanwhile, is totally not dead. In fact, he's trying
to start things back up with Fleur-de-Lis. He's at her house the day Esmeralda is to be hanged, and he sees her being
led in front of the cathedral to do penance before her execution. Frollo is present, and he asks Esmeralda again if
she will be his. She totally refuses. Esmeralda is about to be led away when she sees Phœbus watching; she faints.
Just then, Quasimodo emerges from the cathedral, grabs Esmeralda, and carries her inside, claiming sanctuary. The
crowd goes wild.

Frollo, meanwhile, has left too early to see the rescue. When he returns to the cathedral, he sees Esmeralda
and thinks that he's seeing her ghost. Quasimodo sets Esmeralda up in a little room, avoiding her during the day so
that she doesn't have to look at him. He tries to fetch Phœbus for her, but Phœbus refuses to come. Frollo, who has

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since found out what happened, tries to rape Esmeralda one night. Quasimodo stops him and seems like he's about
to kill him, but when he realizes that it's Frollo, he backs off. Frollo asks Pierre Gringoire to help him rescue
Esmeralda from the cathedral. Gringoire gathers an army of Tramps, and one night, they attack the cathedral.
Quasimodo mistakes their intent and, thinking that they mean the gypsy harm, batters them with beams and stones
and molten lead. Just when it looks like Quasimodo's about to lose the cathedral, it's Phœbus to the rescue.
Quasimodo rushes to Esmeralda's room only to find it empty.

During the attack, Gringoire and Frollo sneak in to get Esmeralda and Djali. They get in a boat and row
away from the cathedral. When they hit land, Gringoire leaves with Djali. Frollo drags Esmeralda to the Place de
Grève and demands that she choose between him and the gallows. She opts for the gallows. Frollo gives Esmeralda
to the Sack Woman to hold on to while he gets the sergeants. The Sack Woman is delighted that the gypsy she hates
so much is going to die. When she shows Esmeralda the little shoe of her lost child, Esmeralda produces its mate
from the necklace she always wears. The Sack Woman, finally reunited with her long-lost child, tries desperately to
hide Esmeralda when the soldiers come. Unfortunately, she's not a very good liar, and they drag her and Esmeralda
out of the cell. The Sack Woman dies as Esmeralda is carried to the gallows.

Meanwhile, at Notre-Dame, Quasimodo is upset that Esmeralda is missing. Then he sees Frollo watching
the Place de Grève from one of the towers. As Esmeralda is hanged, Frollo laughs. When Quasimodo sees this, he
grabs Frollo and throws him from the tower. Frollo is able to hang on to a gutter long enough to see the abyss below
him—and to see Quasimodo weeping. Then he falls. Quasimodo looks at Esmeralda and Frollo and proclaims that
there is all he has ever loved. That day, Quasimodo disappears. Gringoire continues to write plays, and Phœbus gets
married. About two years later, at Montfaucon (a giant gallows and vault for the bodies of criminals), two skeletons
are found that have dragged away from the rest. One belongs to someone with a deformed spine, and it is clutching
the body of a woman. When they attempt to drag the man's skeleton from the woman's, it falls to dust.

The Three Musketeers by Alexandre Dumas

D’Artagnan arrives in Paris and, seeking to join

the king’s musketeers, goes to see their captain,
Tréville. In his haste he offends three of the best
musketeers—Porthos, Athos, and Aramis—and
challenges each to a duel that afternoon. All three
musketeers arrive at the appointed location at the
same time to duel with D’Artagnan. However,
they are interrupted by Cardinal Richelieu’s
guards. The musketeers plus D’Artagnan happily
engage the guards and beat them soundly, and
D’Artagnan is accepted as a friend and a good
fighting companion.

D’Artagnan settles into his new life, hoping to

soon become a musketeer, and rents an apartment
above the shop of Monsieur Bonacieux. However,

he finds himself in the middle of the foulest plot in France. Cardinal Richelieu and the evil Milady de
Winter are trying to discredit Queen Anne in the eyes of King Louis XIII and the country, thus ultimately
giving Richelieu more power over the king. The queen is trying to repel the amorous advances of the
English duke of Buckingham. And Constance, Bonacieux’s wife, has become the trusted messenger
between the queen and Buckingham, as well as a victim of Richilieu who sees her as an avenue to expose
the queen. D’Artagnan becomes involved when he meets Milady and is smitten by her charms and when
Constance asks him for help and he is smitten again.

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About this time, Athos, to distract D’Artagnan from thoughts of Milady and Constance, tells him about a
man who married a woman whom he later learned was a convicted thief. He believes the evil woman is
now dead. The man is, of course, Athos, but he doesn’t tell D’Artagnan that.

Next, Richilieu, through Milady and his henchman Rochefort, trick Buckingham into coming to Paris.
Buckingham goes to the queen’s chambers, but she refuses his love. He asks for a remembrance, and the
queen gives him twelve diamond studs; then, with Constance and D’Artagnan’s help, he leaves England
safely. Even though Richilieu doesn’t trap Buckingham this time, his spies inform him of these happenings.

Still plotting to trap Queen Anne, Richelieu suggests King Louis give a ball ten days hence at which the
queen can wear the diamond studs the king has given her, and he sends Milady to London to steal the
jewels from Buckingham. Learning of the ball,the queen writes to Buckingham to return the jewels to her,
and she asks D’Artagnan to take the letter to England. D’Artagnan enlists the help of Athos, Porthos, and
Aramis; and the four race off to England.

The four friends soon are separated, but D’Artagnan eventually arrives in London; however, when
Buckingham gives D’Artagnan the diamond studs, they discover two are missing. Buckingham realizes
that Milady, who arrived earlier, has managed to steal them, but he commands a jeweler to make
duplicates, and arranges to hand over the complete set to D’Artagnan at the dock in the morning.

The next morning, Milady arrives at the dock first and tries to get the jewels, but Buckingham will not
give her the studs, so Milady stabs him. D’Artagnan arrives, preventing her from stealing the jewels, but
not in time to prevent Buckingham’s death. Milady hurries back to Paris ahead of D’Artagnan and tells
Richelieu of her partial success: she believes that, even if D’Artagnan brings the jewels, two will be
missing. The king arrives at the ball and notes the absence of the queen’s diamond studs. He demands she
get them, saying he will come back when she is properly dressed. With time running out, D’Artagnan
finally arrives and gives the queen the jewels—the original ten, plus the two new ones. The king returns,
and the queen is happily wearing all twelve diamonds.

In the meantime, the queen has sent Constance to a convent where she can be safe from the cardinal. She
tells this to D’Artagnan, but Milady overhears and hurries off to seek revenge. D’Artagnan gathers up his
three friends, and the race is on again. Milady, disguised, arrives at the convent before the musketeers and
secretly pours poison into a glass of wine and urges Constance to drink. The four friends arrive as Milady
rushes out, and Constance dies in D’Artagnan’s arms.

Finally, the four catch up with Milady. They accuse her of her various crimes and pass sentence of death—
and Athos recognizes her as his long-ago wife whom he thought was dead. However, Milady cheats them
of revenge by stabbing herself. The musketeers kneel and ask for God’s forgiveness on all of them.

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RUBRIC ON WRITING A CRITIQUE

CRITERIA 5 4 3 2
Task Fulfillment The statement The statement The statement The thesis
specifies the specifies the merely statement is
central reading central reading summarizes the missing.
and judgment of and judgment of story and does
the text according the text according not connect it to
to the chosen to the chosen the critical lens,
critical lens. This critical lens. or is vague about
is echoed in the doing so.
conclusion.
Summary of Critique presents Critique presents Critique has a Critique does not
short story a thorough a thorough limited summary present a
summary of the summary of the of the short story summary,
short story to be short story to be to be critiqued, preventing the
critiqued. critiqued. limiting reader reader from
Story elements understanding of understanding the
serving as bases the critique. whole story and
of critique are limiting reader
foregrounded understanding of
effectively in the the critique.
summary.
Bases of critique It identifies three It identifies bases Bases of critique It fails to identify
bases of critique of critique within within the text are any bases of
within the text the text and not clearly critique within
and provides provides textual identified, and/or the text.
textual evidence. evidence. inconsistently
Each basis is supported with
discussed textual evidence.
thoroughly.
Application of It correctly It correctly It misinterprets It misinterprets
Critical Lens applies points for applies points for text to fit points text to fit the
analysis and analysis and expected by the points expected
appropriately uses appropriately uses lens, and/or by the lens and
relevant relevant misuses critical misuses critical
terminology. terminology. terminology. terminology.
It arrives at a It fails to provide
clear judgment of or discuss textual
the text according evidence to
to the chosen support claims.
lens.

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GRAMMAR AWARENESS – WEEK 5-6

Learning Competency:

Use pronouns effectively

Use structures of modification

Topic:

LESSON 4: Cases of Pronouns

Noun Modification

Verb Modification

Roast Speech

Pronouns are parts of speech that stand in for nouns to avoid repetitiveness. They are also used to link
sentences to other sentences, with the connection being between the pronouns and the antecedents being
referred to.

Pronouns can be tricky – should it be “Dad and I” or “Dad and me”? is a common question. But it can be
easier to choose if one remembers the cases.

1. Subjective Case – pronouns that are used as subjects or subject complements. This includes I, he, she,
they, we, who, it.

• I gave my friend a legend skin.

• They were trying to ban Helcurt.

2. Objective Case – pronouns that are the objects of prepositions, direct objects, or indirect objects, fall
under this case. This includes him, her, me, them, us, whom, and it.

• I warded off the enemy for him.

• I gave him the red buff.
• The team made her the leader in her third match.

3. Possessive Case – this case shows ownership. Unlike nouns, which typically take on an apostrophe and
s, pronouns have a specific possessive case spelling with no apostrophe involved: his, her, my, its, their.

• Their tank reported us after the game.

• Her brother told her that he will wander off to the Land of the Dawn.

Grammar Check

Activity 1. Encircle the correct pronoun to complete the sentences.

1. Bruno and (me, I) will attend the football game next Saturday.

2. Do not forget (you’re, your) responsibility to the group.

3. (We, Us) could not meet the girls after the dance.

4. Bill hoped it was (she, her) approaching the group.

5. The group will meet with (he/him) after the final results are in.

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6. The winners treated (theirselves, themselves) to a pizza.

7. Popol tried to help Kupa find (its, it’s) way back home.

8. (Whom/Who) can I ask about directions to the shop that sells fragments?

9. Johnson drove Odette and (him/he) to the airport.

10. The only person for the job is (she/her).

Activity 2. Write your own sentences about the given cases of the pronouns in each number. It is up to
you to choose the pronoun that you will use as long as it is under the case provided.

1. (Possessive Case)

____________________________________________________________________________________
____________________________________________________________________________________

2. (Subjective Case)

____________________________________________________________________________________
____________________________________________________________________________________

3. (Objective Case)

____________________________________________________________________________________
____________________________________________________________________________________

4. (Possessive Case)

____________________________________________________________________________________
____________________________________________________________________________________

5. (Subjective Case)

____________________________________________________________________________________
____________________________________________________________________________________

Expanding Sentences through Noun Modification

One way to maximize the opportunity to communicate is by packing a good amount of detail in
each statement. Sentences can be expanded by modifying the nouns it contains, thus adding more
information about them.

Nouns may be modified in different ways:

1. Adjectives can add descriptive information about number, nature, and the like.
ii
• Complex notion
• Dangerous substance
• Quick review

2. A noun may also be modified by another noun; the original noun thus becomes a head noun.

• village magistrate
• car door
• asthma medication
• silver medal

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3. Verbals that act as adjectives, such as infinitives and participles, may modify nouns.

• Running gag
• Combined forces
• The person to talk to

4. Prepositional phrases may act as adjectives.

• The contract for the bridge was signed by the director of infrastructure operations.

5. Subordinate clauses may also act as adjectives, modifying a noun in the main clause.

• The hand that signed the paper was the President’s.

• The candidate who had the biggest campaign budget actually lost.

Activity 3. Encircle the modifiers that modify the nouns in the following statements

1. I’m neither the hungry wolf…nor the sacrificial lamb.

2. Remember to tell my little brother, it’s dinner time!

3. I am the top student of the academy, after all.

4. What a perfect shot!

5. A true hero has come to help.

Activity 4. Expand these sentences by modifying the underlined noun.

1. Encyclopedias have been largely displaced by digital versions.

____________________________________________________________________________________
____________________________________________________________________________________

2. The temple received plenty of visitors.

____________________________________________________________________________________
____________________________________________________________________________________

3. Her journey had taken her all over Southeast Asia.

____________________________________________________________________________________
____________________________________________________________________________________

4. Her editor refused to approve the latest chapter of her novel.

____________________________________________________________________________________
____________________________________________________________________________________

5. The prefecture had never been hit by such an earthquake.

____________________________________________________________________________________
____________________________________________________________________________________

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Expanding Sentences through Verb Modification

Sometimes, a straightforward, terse statement conveys everything you need it to say. Other times,
however, it may be more useful to expand a sentence in order to add more precision and detail.

One way to accomplish this is to modify one or more verbs in the sentence. As verbs convey
information about state or action, such as a modification may contribute a great deal of information.

Note that direct objects, which receive the action of the verb, are not modifiers.

Here are two ways to modify verbs and expand a sentence.

1. Adverbs. These typically single-word modifiers add information about how, where, or when the action
of the verb takes place.

• He filled out the form quickly.

• They agreed to our terms wholeheartedly.

2. Prepositional phrases as adverbs. A phrase starting with a preposition (of, for, under, after, etc.) and
ending with a noun (the object of the preposition) may also offer information about how, where, or when
the action of a verb takes place. More than one prepositional phrase may be used to modify the same verb.

• She left after breakfast.

• The treasurer deposited the money in the company’s account before the next meeting.

3. Infinitives or infinitival phrases as adverbs.The verbal form “to+verb” may act as an adverb either by
itself or in a phrase. This is usually used to say why an action is done.

• They built the dam to protect the town from floods.

• He applied for the position to prove that he was ready for it.
• To ensure that we have counted the votes properly, we do multiple recounts.

Activity 5. Expand these sentences by modifying the indicated verb.

1. The embattled candidate spoke on the issue.

____________________________________________________________________________________
____________________________________________________________________________________

2. The company reduced their water consumption.

____________________________________________________________________________________
____________________________________________________________________________________

3. Her family had lived in the Cagayan region.

____________________________________________________________________________________
____________________________________________________________________________________

4. The patient’s stress levels dropped.

____________________________________________________________________________________
____________________________________________________________________________________

5. The doctor prescribed affordable but powerful medication.

____________________________________________________________________________________
____________________________________________________________________________________

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A Roast speech is a type of speech meant to tease, joke around with and make fun
of someone - all in good humor - often for their birthday, retirement, promotion,
anniversary or other important event. It is a speech honoring someone, usually a
close friend or colleague. The lead-up to the honoring part is full of humorous
stories, jokes of all sizes and descriptions, and sometimes biting sarcasm and satire.
It often pushes the bounds of decency a little, sometimes it pushes them a lot!

Roasting someone is a lot like toasting them. The preparation can be the same: brainstorm a list of traits
or characteristics you associate with that person. But now rather than using this material to show how great
the person is, use the traits to poke fun at them. Most characteristics that make a person distinctive can
also be funny. In terms of our categories of humor (see the page on “Humor in Public Speaking), roast
jokes are often a combination of character humor and hyperbole. Identify a distinctive trait, exaggerate it,
and then see where it takes you.

Appropriate jokes for a roast are really hard to write! You should give yourself a lot of time to compose
them, because you’ll throw out far more than you use. For instance, you shouldn’t actually embarrass or
humiliate the guest of honor, or anyone else present.

FINAL TASK. Pretend that you are going to attend a party of your bestfriend or even a close friend.
Write a roast speech about him/her that is about two minutes max. You will be guided with the tips
given above. Use pronouns and structures of modification in your written speech and underline them.
Then, record a video of yourself delivering the speech while dressed for the occasion.

Criteria 5 points 4 points 2 points 1 point

Welcome/Acknowledgment Roast has an Roast has an Weak No attention
appropriate attention attention getter
opening getter but it is getter
attention not
getter appropriate or
does not
relate to the
speech
Address to the Situation Speech Speech either Address is Speech has
clearly identifies the present but is not included
identifies the situation or confusing. an address to
situation and the situation
the speaker's relationship to
relationship to the situation
the situation. but not both.

Content/Requirement The required Some Very little No content

pronouns and pronouns and required
structures of structures of information is
modification modification presented.
is presented is presented.
and some Thoughts are
interesting inconsistent
supplemental
information is
presented.
Thoughts are
meaningful
and specific
Closing Gesture Speech has a Speech has a Speech has a Speech does
closing closing closing not have a
gesture where gesture but gesture but no closing
people in instructions instructions gesture
attendance are are confusing
involved. or incomplete

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REFERENCES

Lesson 1 – Literary Criticism. Definition of Literary Criticism. Retrieved November 30, 2020.
https://www.masterclass.com/articles/literary-criticism#what-is-literary-criticism

Lesson 1 – Activity. The Nymph Complaining the Death of her Fawn. Retrieved November 30, 2020.
https://www.poetryfoundation.org/poems/44687/the-nymph-complaining-for-the-death-of-her-fawn

Author’s Biography. Guy de Maupassant. Accessed December 1, 2020.

https://en.wikipedia.org/wiki/Guy_de_Maupassant

Short Story/Literary Criticism. The Necklace. Accessed December 1, 2020.

http://www.classicshorts.com/stories/necklace.html

Author’s Biography. Victor Hugo. Accessed December 1, 2020.

https://en.wikipedia.org/wiki/Victor_Hugo

Short Story/Literary Criticism. The Hunchback of Notre Dame. Accessed December 1, 2020.
https://www.shmoop.com/study-guides/literature/hunchback-of-notre-dame/summary

Author’s Biography. Alexandre Dumas. Accessed December 1, 2020.

https://en.wikipedia.org/wiki/Alexandre_Dumas

Author’s Biography. Kate Chopin. Accessed December 1, 2020.

https://www.katechopin.org/

Literary Criticism. Definition of Formalist Criticism. Retrieved November 30, 2020.

https://www.enotes.com/homework-help/what-is-formalist-criticism-196827

Author’s Biography. Andrew Marvell. Accessed December 1, 2020.

https://www.britannica.com/biography/Andrew-Marvell-English-poet

Short Story/Literary Criticism. The Tortoise and the Hare. Accessed December 1, 2020.
http://read.gov/aesop/025.html

Literary Criticism. Definition of Feminist Criticism. Retrieved November 20, 2021.

https://fairygodboss.com/career-topics/feminist-
criticism?__cf_chl_tk=VRlGguN5hpWOxw3Ea_Z0dkKXFx9FfGi8N_e6msuXxQA-1637384515-0-
gaNycGzNCKU

Short Story/Literary Criticism. The Yellow Wallpaper. Accessed November 20, 2021.
https://blog.prepscholar.com/the-yellow-wallpaper-summary-analysis?

Literary Criticism. Definition of Historical Criticism. Retrieved November 20, 2021.

https://goodwin.libguides.com/c.php?g=950365&p=7427341historicalapproach

Author’s Biography. Gwendolyn Brooks. Accessed November 20, 2021.

https://www.britannica.com/biography/Gwendolyn-Brooks

Short Story/Literary Criticism. The Mother. Accessed November 20, 2021.

https://www.poetryfoundation.org/poems/43309/the-mother-56d2220767a02

Short Story/Literary Criticism. The Ballad of Mulan. Accessed November 20, 2021.
https://www.chinahighlights.com/travelguide/article-movie-real-story-of-mulan.htm

Literary Criticism. Definition of Reader-response Criticism. Retrieved November 20, 2021

https://courses.lumenlearning.com/introliterature/chapter/reader-response-criticism/

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Prepared by: Checked by:

MAYBELL C. GONZALES, LPT JERIECA LYKA S. RUBIO, LPT

English 10 Teacher Head Teacher, Junior High School

Recommending Approval: Approved by:

NERISSA S. DELOS REYES, MAEd, SMRIEdr DR. RAMON E. WOO, JR., CPA, DFRIEdr
VP/Basic Education Principal Dean of Studies

Noted by:

DR. ROSALINA S. ANDAYA, Ed.D., DFRIEdr

President

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