DETAILED LESSON PLAN IN 21ST CENTURY LITERATURE FROM THE PHILIPPINES AND THE WORLD

I. Objectives

At the end of the lesson, the students should be able to:

 Identify and explain the literary elements, genre and tradition present in the 21st century poem
of Billy Collins, Litany.
 Demonstrate understanding of the text through the integration of group tasks
 Apply the use of specific literary elements through the creation of individual poems of students
in their own choice of topic.

II. Subject Matter

 Explain the texts in terms of literary elements, genres, and traditions

EN12Lit-IIb-32

I. Materials

Multimedia Equipment Powerpoint Presentation Individual print of the poem Litany Vocabulary
Worksheet Reflective Journal Slip II. Procedure A. Preparation 1. The teacher will start the class with a
prayer to be led by the prayer leader student followed by a greeting.

2. The teacher will review the class of their previous discussion while fixing the powerpoint
presentation. 3. The teacher will give the students the motive questions 4. The teacher will distribute to
the class the vocabulary worksheet 5. The teacher will prepare the reflective journal slip for the teacher
evaluation. 6. The teacher will remind the students of their group assignment of the 21st century play
that they will be performing. B. Motivation 1. The teacher will ask the over the podcast about the
Invocation of the Beginnings (Zefrank 1 origins retrieved from
https://www.youtube.com/watch?v=RYlCVwxoL_g) 2. The teacher will then get the students reaction
and opinion of the podcast they have listened to. 3. The teacher will ask some students to share their
daily devotion or invocation to the class. C. Motive Questions 1. Who among you here do daily
devotion? 2. What is devotion for you? What do you share in your devotion? 3. What is the benefit of
having a devotion? How is it manifested?

D. Lesson Proper / Presentation

Pre-reading:

1. Vocabulary Check Before the teacher will proceed to the discussion, she will asks the students to
answer the vocabulary worksheet individually. They will be given 10 minutes to fill out the worksheet
with correct answer.

WORKSHEET: Below are definitions of words from the poem. Can you identify what the given words are?
Read through the poem once more then write the word being defined in the box. The stanza number (S)
will be indicated where the word cab be found as a given clue.
1. A drinking container (S1) 2. A type of tree that produces large, sweet nuts that can be eaten (S6) 3.
Round, juicy fruit that has red purple skin (2) 4. A park walk bordered by tress or bushes (6) 5. Darkened
or black (3)

Using a dictionary check how these words are pronounced, then practice saying them aloud altogether
in the class.

During Reading

1. The teacher will ask the students to bring out their individual copy of their poem, Litany. 2. The
teacher will ask the students to read the poem silently. After silent reading, the teacher will ask the
students to read altogether the poem loudly. 3. The teacher will post the guide questions while the
students are reading silently.

Guide Questions:

A. Describe the character talking in this poem from the Litany. To whom is the persona talking?

B. What is your initial reaction as you begin to read the poem? C. What situations in the story remind
me of people and situations in my own life? How are they similar and how are they different? D. What
do the speaker tries to imply in the last stanza? What is the significance of the message to the
addressee?

I am also the moon in the trees and the blind woman's tea cup. But don't worry, I'm not the bread and
the knife. You are still the bread and the knife. You will always be the bread and the knife, not to
mention the crystal goblet and--somehow--the wine. E. What are the rhyming words used in the poem.
Is there a rhyme scheme used? F. Does the poem follow a metric pattern? G. What is the dominant tone
and mood in the poems? Cite some lines from the poem. H. What is the central theme of the poem.
How is it revealed in the poem? I. Enumerate the imageries that appeal to the senses used in the poem.
Identify the particular lines supporting the imagery. J. What figures of speech used in the poem. Explain
how they are used in the poem. K. What do you think the title means? If I could change the title, how
would I change it and why?

4. After reading, the teacher will give students 5 minutes to analyze the questions posted. The teacher
will call random students to answer each question. 5. Next the teacher will now begin on giving the
students a short background of the author of the poem.

BILLY COLLINS

Born in 1941, in New York and dubbed “the most popular poet in America” by Bruce Weber in the New
York Times, Billy Collins is famous

for conversational, witty poems that welcome readers with humor but often slip into quirky, tender or
profound observation on the everyday, reading and writing, and poetry itself. Collins’s level of fame is
almost unprecedented in the world of contemporary poetry: his readings regularly sell out, and he
received a six-figure advance when he moved publishers in the late 1990s. He served two terms as the
US Poet Laureate, from 2001-2003, was New York State Poet Laureate from 2004-2006, and is a regular
guest on National Public Radio programs. In 2002, as U.S. Poet Laureate, Collins was asked to write a
poem commemorating the first anniversary of the fall of the Twin Towers of the World Trade Center on
September 11. The reading was in front of a joint session of Congress held outside of Washington D.C.
(Retrieved from https://www.poetryfoundation.org/poems-andpoets/poets/detail/billy-collins)

Lesson on the literary elements, genres, and traditions Retrieved from:

http://learn.lexiconic.net/elementsofpoetry.htm : http://learn.lexiconic.net/elementsofpoetry.htm

The teacher will continue the lecture discussion using the powerpoint presentation Literary Elements
Refer to the overall or universal quality or description of any written or oral text Literary Elements of
Poem

STANZAS: Stanzas are a series of lines grouped together and separated by an empty line from other
stanzas. They are the equivalent of a paragraph in an essay. One way to identify a stanza is to count the
number of lines. Thus:

couplet (2 lines) tercet (3 lines)

quatrain (4 lines) cinquain (5 lines) sestet (6 lines) (sometimes it's called a sexain) septet (7
lines) octave (8 lines)

RHYME: Rhyme is the repetition of similar sounds. In poetry, the most common kind of rhyme is the end
rhyme, which occurs at the end of two or more lines. It is usually identified with lower case letters, and a
new letter is used to identify each new end sound. Take a look at the rhyme scheme for the following
poem

I saw a fairy in the wood, He was dressed all in green. He drew his sword while I just stood, And realized
I'd been seen\

RHYTHM: Creates the pleasant gliding effect when we read a poem. It helps readers to travel along the
lines of the poem with a certain enjoyable tempo created by the components of rhythm.

Never in my lonely life, Could you make it -- be my wife.

or,

If only then she had seen, That crime and anger were to have been.

METER: the systematic regularity in rhythm; this systematic rhythm (or sound pattern) is usually
identified by examining the type of "foot" and the number of feet.

WORD SOUNDS: Another type of sound play is the emphasis on individual sounds and words:

Alliteration: the repetition of initial sounds on the same line or stanza - Big bad Bob bounced bravely.

Assonance: the repetition of vowel sounds (anywhere in the middle or end of a line or stanza) - Tilting
at windmills

Consonance: the repetition of consonant sounds (anywhere in the middle or end of a line or stanza) -
And all the air a solemn stillness holds. (T. Gray)
 Onomatopoeia: words that sound like that which they describe - Boom! Crash! Pow! Quack! Moo!
Caress...

Repetition: the repetition of entire lines or phrases to emphasize key thematic ideas.

Parallel Stucture: a form of repetition where the order of verbs and nouns is repeated; it may involve
exact words, but it more importantly repeats sentence structure - "I came, I saw, I conquered".

FIGURATIVE/CONNOTATIVE DEVICES

Simile is the rhetorical term used to designate the most elementary form of resemblances: most
similes are introduced by "like" or "as." These comparisons are usually between dissimilar situations or
objects that have something in common, such as "My love is like a red, red rose."

Metaphor leaves out "like" or "as" and implies a direct comparison between objects or situations. "All
flesh is grass."

Personification occurs when you treat abstractions or inanimate objects as human, that is, giving them
human attributes, powers, or feelings (e.g., "nature wept" or "the wind whispered many truths to me").

IMAGERY is the name given to the elements in a poem that spark off the senses. Despite "image" being
a synonym for "picture", images need not be only visual; any of the five senses (sight, hearing, touch,
taste, smell ) can respond to what a poet writes

Literary Genres

Retrieved from http://literarydevices.net/genre/

It is a category of literary composition. Genres may be determined by literary technique, tone,

content, or even (as in the case of fiction) length.

A. EPIC POEM is a long, narrative poem that is usually about heroic deeds and events that are significant
to the culture of the poet. Many ancient writers used epic poetry to tell tales of intense adventures and
heroic feats. B. NARRATIVE POETRY is a form of poetry that tells a story, often making use of the voices
of a narrator and characters as well; the entire story is usually

written in metered verse. Narrative poems do not have to follow rhythmic patterns. C. ROMANTIC
POEM is a poetry that emphasized intuition over reason and the pastoral over the urban, often
eschewing consciously poetic language in an effort to use more colloquial language D. DRAMATIC
POETRY is any drama that is written in verse that is meant to be recited. It usually tells a story or refers
to a situation. This would include closet drama, dramatic monologues, and rhyme verse. E. LYRIC POEM
it has have a musical rhythm, and their topics often explore romantic feelings or other strong emotions.

LITERARY TRADITIONS

Literary tradition is the passing down of stories which give meaning to human experiences, according
to Literary Articles. Every linguistic group has a literary tradition, which is transmitted either orally or
through writing.

Post-reading:
A. Extension The teacher go back to the guide questions provided in the second reading and let the
students analyze the correct answers or the mistakes that they have committed during reading. The
teacher will allow the students to a clarifications from the teachers and provide feedback from the
discussion The teacher will give a brief discussion and examples of the 21st century poem and explain
the significance of it in the curriculum. B. Group Tasks The teacher will divide the class into three
groups. Each group should select their leader who will lead their activity.

The distribution of the activity to be done will be made using the fishbowl technique and whatever
they have selected, that is what they are going to perform. Each group will be tasked to do a creative
activity in response to the lesson discussed. They will be given a maximum of 5 minutes to perform. A
rubric will be presented for the evaluation of their performance.

Rubric of Performance

Retrieved from http://secondaryelar.weebly.com/uploads/1/0/5/4/10543478/spoken_word_rubric.pdf

Group Number

GROUP ACTIVITIES

Note: Activities used are based on our Subject S-Eng 10. SURVEY OF AFRO-ASIAN LITERATURE

RAALIDO Faculty of Arts and Languages

Group 1: Creating a Scenario. A scenario is an outline of a proposed series of events either real or
imagined. The group should create a scenario following the point of view of the speaker in the poem.
Write your own dialogues and verses for the characters. Remember to make the conversations witty and
interesting and the verses as poetic and rhythmical as possible.

Group 2: Speech Choir. The speech choir is a form of oral interpretation done as a group. Similar to
choral singing, a speech choir requires the harmonious and rhythmical recitation of poetic verses. In a
dramatic speech choir, the group creates movements and wears costumes that reflect the theme of the
poem. Using the poem, Litany the group should prepare for a dramatic choral interpretation. Practice
the oral interpretation of the piece and work on meaningful movement.

Group 3: Dramatic Monologue. The oral interpretation of a selection is one way of interpreting and
understanding its meaning. A dramatic monologue is one such example. It is an extended speech
addressed by a character to another person. Prepare for a dramatic interpretation of the poem Litany.
The group should be able to memorize the lines well and practice the facial expressions, gestures, and
body movement before the class performance.

E. Generalization / Application 1. The teacher will ask the students to use literary elements to show how
much they have understood the lesson.

2. The teacher will encourage the class that if they perform better, they would need not to take the final
examination for the subject.

F. Evaluation 1. The teacher will distribute the reflective journal slip to the students and let them reflect
on what they have learned, realized and discovered in the whole duration of the class.
G. Assignment

1. The teacher will assign the group of the play that they would be reading for their next group
performance.

APPENDIX

COPY OF THE POEM LITANY BY BILL COLLINS

Retrieved from https://sites.google.com/site/eaglepoetry/billy-collins/today

You are the bread and the knife, the crystal goblet and the wine. You are the dew on the morning grass
and the burning wheel of the sun. You are the white apron of the baker, and the marsh birds suddenly in
flight.

However, you are not the wind in the orchard, the plums on the counter, or the house of cards. And you
are certainly not the pine-scented air. There is just no way that you are the pine-scented air.

It is possible that you are the fish under the bridge, maybe even the pigeon on the general's head, but
you are not even close to being the field of cornflowers at dusk.

And a quick look in the mirror will show that you are neither the boots in the corner nor the boat asleep
in its boathouse.

It might interest you to know, speaking of the plentiful imagery of the world, that I am the sound of rain
on the roof.

I also happen to be the shooting star, the evening paper blowing down an alley and the basket of
chestnuts on the kitchen table.

I am also the moon in the trees and the blind woman's tea cup. But don't worry, I'm not the bread and
the knife. You are still the bread and the knife. You will always be the bread and the knife, not to
mention the crystal goblet and--somehow--the wine