Detailed Lesson Plan - Creative Writing PDF

Don Mariano Marcos Memorial State University MID LA UNION CAMPUS City of San Fernando, La Union COLLEGE OF EDUCATION Bachelor of Secondary Education...

Don Mariano Marcos Memorial State University MID LA UNION CAMPUS City of San Fernando, La Union COLLEGE OF EDUCATION Bachelor of Secondary Education DETAILED LESSON PLAN Creative Writing I. Learning Competencies Objectives: At the end of the lesson the student should be able to; a. determine the different conventional forms of poetry along the discussion; b. relate the theme of the poetry to your life through analyzing its theme; c. familiarize with the different conventional forms of poetry by memorizing each element; and: d. compose their own poem by applying its element and techniques. II. Learning Content Lesson: Conventional forms Materials: Laptop, television, cartolina, illustration board References: https://www.scribd.com/document/498548288/HUMSS-CWMODULE3-2-ok McNamarra, R. (n.d.). Sestina. https://staff.washington.edu/rmcnamar/383/bishop.html My last Duchess. (2024, August 23). The Poetry Foundation. https://www.poetryfoundation.org/poems/43768/my-last-duchess Sonnet 116: Let me not to the marriage of true minds. (2024, August 19). The Poetry Foundation. https://www.poetryfoundation.org/poems/45106/sonnet-116-let-me- not-to-the-marriage-of-true-minds Sonnet 23 - Is it indeed so? If I lay here dead - Poem by Elizabeth Barrett Browning. (n.d.). http://famouspoetsandpoems.com/poets/elizabeth_barrett_browning/poems/4685 Spring offensive. (2024, June 22). The Poetry Foundation. https://www.poetryfoundation.org/poems/57370/spring-offensive-56d23ad1f2c15 The house on the hill. (2024, June 22). The Poetry Foundation. https://www.poetryfoundation.org/poems/44976/the-house-on-the-hill III. Learning Tasks Teacher’s Activity Student’s Activity I. Preliminary Activities A. Greetings “Good morning class” “Good morning,ma’am.” “How is everyone?” “We’re fine,ma’am.” “That’s good to hear!” B. Prayer  “So, before we start, Adrian can you lead us with a prayer?” “Let’s all rise for a prayer.” “Thank you for leading the prayer. So, before we proceed, kindly check your (Students check their areas.) places if there is any clutter of garbage below your chairs or in your area.” C. Attendance “Miss secretary kindly check the attendance and may I know who is out?” “Everyone is present, ma’am.” “Alright, that’s good. Thank you secretary.” “Welcome po, ma’am.” D. Review “Before we begin, let us have a short recap of the topic we discussed last (Students review their notes.) week.” “So, did anyone in the class remember the lesson yesterday’s class?” (A student shares his/her answer.) Thank you dear! “Before we proceed to our first activity, We have here LR’s for our classroom rules; -Listen attentively. -Respect someone who is talking. -Raise your right hand if you want to recite. -Refrain from using your mobile phones. II. Lesson proper A. Activity “The game is entitled come and guess me. What you need to do is to identify what the picture is/are intended to say by guessing the correct name of the objects. “Yes, ma’am.” Is that clear?” “For you to answer, shout one thing that inspire you, okay?” “Yes, ma’am.” “Let’s start.” 1. + 2. + 3. + Answers: 1. Sonnet 4. 2. Villanelle 3. Sestina + 4. Blank verse 5. Heroic couplet 6. Haiku 5. + 6. + B. Analysis “Okay, settle down everyone. Did you enjoy our game?” “Yes, ma’am.” “That’s good to know. Now class, what “Sonnet, free verse, heroic couplet, villanelle, did you observe from our activity? What blank verse, and sestina, ma’am.” are those forms again?” “So, what do we call these? “Types of poetry, ma’am?” “You have a point that those mentioned are types of poetry but what are those “We don’t know, ma’am.” types called?” “Okay, so these are the conventional  forms of poetry. Are you familiar with “Yes, ma’am.” the forms that has been mentioned in our activity?” “Okay, if that so, let us deepen your knowledge about the conventional forms of poetry.” C. Abstraction “Before we tackle the forms, let us have first what is the meaning of conventional. Do you have any idea?” “None, ma’am.” “Conventional or traditional poetry, it is “Can someone read the meaning?” typically have a rhyme scheme, a certain rhythm and meter, or precise rules governing the length of the poem, number of syllables, and so on.” “When we say conventional or traditional is follows a certain fixed rules or fixed form. These forms have limited number of lines and consist of specified meter and rhyme scheme.” “A sonnet is a 14-line poem written in iambic “Some types of poems in conventional pentameter. It is originated in Italy and was form are the following. First we have popularized by poets like Shakespeare.” sonnet.” “The name sonnet derives from italian “The first form is the Petrarchan sonnet it word sonneto which means little song. contains an octave (eight lines) and a sestet (six We also the two variation of sonnets.” lines) to total fourteen lines, which is a form that survives up to this day.” “With that, Petrarchan sonnet contains “Sonnet 23 "Is it indeed so? If I lay here 14 lines of iambic pentameter and these dead" lines divided into two: the octave and sestet. Octave involve two rhymes “Is it indeed so? If I lay here dead, scheme ABBA ABBA while sestet have Wouldst thou miss any life in losing mine? two or three patterns CDECDE or And would the sun for thee more coldly shine CDCDCD. Example work here is the Because of grave-damps falling round my head? Sonnet 23 by Elizabeth Barrett I marvelled, my Beloved, when I read…..” Browning.” “Let’s have the second form.” “The second form is the Shakespearean sonnet, as it is known today. It has a ryhme scheme ABAB CDCD EFEF GG and is usually written in iambic pentameter.” “It is also known as ‘English Sonnet’ and it is also consist 14 lines and these lines are divided into four lines or quatrains and the final two lines or couplet. Quatrains have a rhyme scheme of ABAB CDCD EFEF with the final “Sonnet 116: Let me not to the marriage of couplet rhyming GG. Example here are the works of Elizabeth Barrett Browning true minds by William Shalespeare” and William Shakespeare.” Let me not to the marriage of true minds Admit impediments. Love is not love Which alters when it alteration finds, Or bends with the remover to remove. O no! it is an ever-fixed mark That looks on tempests and is never shaken; It is the star to every wand'ring bark, Whose worth's unknown, although his height be taken. Love's not Time's fool, though rosy lips and cheeks Within his bending sickle's compass come; Love alters not with his brief hours and weeks, But bears it out ev'n to the edge of doom. If this be error and upon me prov'd, I never writ, nor no man ever lov'd. “Next, we have the villanelle.” “It has also Italian origins but it was popularized by the french. This form consist of 19 lines spread across six stanzas. It has five tercets and a final stanza with four lines.” “In villanelle, the form it follows is that the first and third lines of the first stanza are repeated throughout the poem. The first line becomes the last line of the second and fourth stanzas. The third line becomes the last line of the third and The House on the Hill fifth stanzas. In the last stanza, the lines Edwin Arlington Robinson that are repreated become the penultimate (second to the last) and last They are all gone away, line of the poem. It follows the rhyme The House is shut and still, scheme ABA and these rhymes are There is nothing more to say. repeated according to the refrain. Example is the work of Edwin Arlington Through broken walls and gray Robinson which is the The house in the The winds blow bleak and shrill: Hill.” They are all gone away. Nor is there one to-day To speak them good or ill: There is nothing more to say. Why is it then we stray Around the sunken sill? They are all gone away, And our poor fancy-play For them is wasted skill: There is nothing more to say. There is ruin and decay In the House on the Hill:  They are all gone away, There is nothing more to say. “Do you have any questions with that?” “None, ma’am.” “Okay, let’s continue with the third form which is the sestina.” “It was invented by troubadours or court poets of the twelfth century in southern France. It has a six stanzas of six lines each and an envoi, a short stanza that ends a poem with three lines.” “When we say sestina, it consist of six stanzas with six lines and it ends with three lines. The entire poem is made up of 39 lines. The same six end words must be repeated in the succeeding Sestina, by Elizabeth Bishop stanzas and follow a set pattern. One of the popular work here is the work of Elizabeth Bishop entitled ‘Sestina’.” September rain falls on the house. In the failing light, the old grandmother sits in the kitchen with the child beside the Little Marvel Stove, reading the jokes from the almanac, laughing and talking to hide her tears. She thinks that her equinoctial tears and the rain that beats on the roof of the house were both foretold by the almanac, but only known to a grandmother. The iron kettle sings on the stove. She cuts some bread and says to the child, It's time for tea now; but the child is watching the teakettle's small hard tears dance like mad on the hot black stove, the way the rain must dance on the house. Tidying up, the old grandmother hangs up the clever almanac on its string. Birdlike, the almanac hovers half open above the child, hovers above the old grandmother and her teacup full of dark brown tears. She shivers and says she thinks the house feels chilly, and puts more wood in the stove. It was to be, says the Marvel Stove. I know what I know, says the almanac. With crayons the child draws a rigid house and a winding pathway. Then the child puts in a man with buttons like tears and shows it proudly to the grandmother.  But secretly, while the grandmother busies herself about the stove, the little moons fall down like tears from between the pages of the almanac into the flower bed the child has carefully placed in the front of the house. Time to plant tears, says the almanac. The grandmother sings to the marvelous stove and the child draws another inscrutable house. “It is another form that originated from italy. It “Next, we have blank verse.” is said to be the form closely resembling human speech, blank verse is written in iambic pentameter, or a line with 10 syllables and five stresses. It is unrhymed and traditionally uses dramatic speech.” “It uses dramatic speech. It has no rhyme scheme. One of the example is the ‘Spring Offensive’ by Wilfred Owen and another closest example here is the Spring Offensive by Wildred Owen work of Joan Milton entitled ‘Paradise Lost’.” Halted against the shade of a last hill, They fed, and, lying easy, were at ease And, finding comfortable chests and knees Carelessly slept. But many there stood still To face the stark, blank sky beyond the ridge, Knowing their feet had come to the end of the world. Marvelling they stood, and watched the long grass swirled By the May breeze, murmurous with wasp and midge, For though the summer oozed into their veins Like the injected drug for their bones’ pains, Sharp on their souls hung the imminent line of grass, Fearfully flashed the sky’s mysterious glass. Hour after hour they ponder the warm field— And the far valley behind, where the buttercups Had blessed with gold their slow boots coming up, Where even the little brambles would not yield, But clutched and clung to them like sorrowing hands; They breathe like trees unstirred. Till like a cold gust thrilled the little word At which each body and its soul begird And tighten them for battle. No alarms Of bugles, no high flags, no clamorous haste—  Only a lift and flare of eyes that faced The sun, like a friend with whom their love is done. O larger shone that smile against the sun,— Mightier than his whose bounty these have spurned. So, soon they topped the hill, and raced together Over an open stretch of herb and heather Exposed. And instantly the whole sky burned With fury against them; and soft sudden cups Opened in thousands for their blood; and the green slopes Chasmed and steppened sheer to infinite space. Of them who running on that last high place Leapt to swift unseen bullets, or went up On the hot blast and fury of hell’s upsurge, Or plunged and fell away past this world’s verge, Some say God caught them even before they fell. But what say such as from existence’ brink Ventured but drave too swift to sink. The few who rushed in the body to enter hell, And there out-fiending all its fiends and flames With superhuman inhumanities, Long-famous glories, immemorial shames— And crawling slowly back, have by degrees Regained cool peaceful air in wonder— Why speak they not of comrades that went under? “Let’s now have the Heroic Couplet.” “It is composed of a pair ryhming lines, often written in the iambic form. The rhyme scheme is AABBCC and so on.” “The term heroic was coined as a form where a high subject matter can be written about. Latin and Greek epic poetry translations were mostly in this My Last Duches by Robert Brownings form. Robert Brownings ‘My Last Duchess’ is an example of this form.” That's my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Frà Pandolf's hands Worked busily a day, and there she stands. Will 't please you sit and look at her? I said 'Frà Pandolf' by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, 't was not Her husband's presence only, called that spot Of joy into the Duchess' cheek: perhaps Frà Pandolf chanced to say, 'Her mantle laps Over my lady's wrist too much,' or 'Paint Must never hope to reproduce the faint Half-flush that dies along her throat:' such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?—too soon made glad, Too easily impressed; she liked whate'er She looked on, and her looks went everywhere. Sir, 't was all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men,—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody's gift. Who'd stoop to blame This sort of trifling? Even had you skill In speech—(which I have not)—to make your will Quite clear to such an one, and say, 'Just this Or that in you disgusts me; here you miss, Or there exceed the mark'—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, —E'en then would be some stooping; and I choose Never to stoop. Oh, sir, she smiled, no doubt, Whene'er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will 't please you rise? We'll meet The company below then. I repeat, The Count your master's known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed; Though his fair daughter's self, as I avowed At starting, is my object. Nay, we'll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me! “Next, let’s have the very familiar form “One of the most familiar poetic form. A of poetry which is the haiku.” japanese poetic form with a three-line poem which has a 5-7-5 syllable count.” “Haiku consist of 5-7-5 syllable count. And its theme is mostly about nature, “The light of a candle” life, and the world. Can you give me an example of haiku?” by Yosa Buson The light of a candle Is transferred to another candle — spring twilight. “A Poppy Blooms” by Katsushika Hokusai “Other example? I write, erase, rewrite Erase again, and then A poppy blooms.” “A poetry that doesn't use any strict meter or “We also have the free verse. Do you rhyme scheme, ma’am.” have any idea what it is?” “Free verse poet must create rhythm without relying on predetermined structures, and does this through lineation, sound, image, and diction Twilights, V among other considerations. One Conrad Aiken example of free verse , we have Conrad Aiken’s ‘Twiglight, V.’.” 1899 –1973 Now the great wheel of darkness and low clouds Whirs and whirls in the heavens with dipping rim; Against the ice-white wall of light in the west Skeleton trees bow down in a stream of air. Leaves, black leaves and smoke, are blown on the wind; Mount upward past my window; swoop again; In a sharp silence, loudly, loudly falls The first cold drop, striking a shriveled leaf... Doom and dusk for the earth! Upward I reach To draw chill curtains and shut out the dark, Pausing an instant, with uplifted hand, To watch, between black ruined portals of cloud, One star,—the tottering portals fall and crush it. Here are a thousand books! here is the wisdom Alembicked out of dust, or out of nothing; Choose now the weightiest word, most golden page, Most somberly musicked line; hold up these lanterns,—  These paltry lanterns, wisdoms, philosophies,— Above your eyes, against this wall of darkness; And you'll see—what? One hanging strand of cobweb, A window-sill a half-inch deep in dust... Speak out, old wise-men! Now, if ever, we need you. Cry loudly, lift shrill voices like magicians Against this baleful dusk, this wail of rain... But you are nothing! Your pages turn to water Under my fingers: cold, cold and gleaming, Arrowy in the darkness, rippling, dripping— All things are rain... Myself, this lighted room, What are we but a murmurous pool of rain?... The slow arpeggios of it, liquid, sibilant, Thrill and thrill in the dark. World-deep I lie Under a sky of rain. Thus lies the sea-shell Under the rustling twilight of the sea; No gods remember it, no understanding Cleaves the long darkness with a sword of light. “Do you have questions?” “None, ma’am.’ “Once again, we have the conventional forms of poetry which are the sonnet, villanelle, sestina, blank verse, heroic couplet, haiku, and free verse.” “Let us now apply what you learned.” D. Application “You will now create your own poem. You will be choosing any of the form except for sestina, and haiku.” Vibar, M. F. (2024). HUMSS-CWMODULE3.2 ok. Scribd. https://www.scribd.com/document/4985 48288/HUMSS-CWMODULE3-2-ok  IV. Assessment Directions: Read the following poem and answer the following questions. The West Wind John Masefield It’s a warm wind, the west wind, full of birds’ cries; I never hear the west wind but tears are in my eyes. For it comes from the west lands, the old bron hills, And April’s in the west wind, and daffodils. It’s a fine land, the west land, for hearts as tired as mine; Apple orchards blossom there, and the airs’ like wine. There is cool green grass there where men may lie at rest; And the thrushes are in song there, fluting from their nest… Answer the questions about the poem. 1. What is the rhyme scheme used? 2. What is the literary device used in the first line “warm wind, the west wind”? 3. What is the sound device used in the wrods “my eyes”? 4. How is the poem written? 5. Which word is an example of onomatopoeia? 6. What are being compared in line 6? V.Assignment Directions: Supply the missing information to complete that table. TYPES OF DESCRIPTION NUMBER RHYME NUMBER OF CONVENTIONAL OF LINES SCHEME SYLLABLES POETRY (1.) Written in 14 ABAB (2.) iambic CDCD EFEF pentameter, GG employing one of several rhyme schemes, and adhering to a tightly structured thematic organization Villanelle (14.) 19 (3.) 8 to 11 syllables per line (4.) a fixed verse 6 There is no ten syllables, except form consisting rhyme within the first of each of six stanzas of the stanzas stanza which are of six lines each, seven. normally followed by a three-line envoi. Blank verse (13.) (5.) (6.) 10 syllables Heroic couplet It is composed of written in (12.) 10 syllables per lines  a pair ryhming iambic lines, often pentameter written in the iambic form (7.) “One of the most (8.) ABA (9.) familiar poetic form (10.) A poetry that (11.) no rhyme (15.) doesn't use any scheme strict meter or rhyme scheme Answers: 1. Sonnet 2. 10 3. ABA ABA ABA ABA ABA ABAA 4. Sestina 5. Any number of lines 6. Doesn't rhyme 7. Haiku 8. 3 9. 17 syllables 10. Free verse 11. no set number of lines 12. iambic pentameter 13. Poetry written in unrhymed but metered lines, almost always iambic pentameter 14. A French verse form consisting of five three-line stanzas and a final quatrain 15. Does not have any regular pattern to accented and unaccented syllables Prepared by: Aira V. Bugayong Pre-service teacher Checked by: G-yan D. Mamuyac Co-operating teacher