SEMI-DETAILED LESSON PLAN

For Grade 11 students

Prepared by Fabayos, Beberly F.

III-3 BEE

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-and-
poets/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,

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.

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.
Rubric of Performance

Group Number

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

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