Teaching Dates Quarter 1 Week 3 September 7-11, 2020

I. Learning Competencies:
MELC Q1 – 2: Identify the geographic, linguistic, and ethnic dimensions of Philippine
literary history from precolonial to the contemporary

Achieve it! Specific Objectives

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

1. list and describe the basic literary approaches to the study
of Literature;
2. identify the literary elements and devices used in the
formalist Approach; and
3. analyze selected literary texts using the formalist approach.

II. Content:

TOPICS/SUBTOPICS/KEY Descriptions References

TERMS
ST
A. Literary Approaches 1. Formalism 21 Century
(to be fully presented in the 2. Reader-Response Literature from the
discussion part) 3. Psychoanalytic Philippines and the
Approach World by E. L. Mata,
4. Sociological N. C. Gabelo, F. M
a. Marxism Ambon and E.E.
b. Feminism Babasa
5. Biographical
Approach
6. The New Historicist
Approach
7. Structuralism

B. Elements of Fiction a. characters World Literature by

(to be fully presented in the b. setting F. C. Pamintuan and
discussion part) c. conflict R.P Caballa
d. plot
e. point of view
f. theme

C. Formalist Analysis of How My Close Reading Analysis (Online source

Brother Leon Brought Home A Wife applying Formalist indicated below)

b) Other online sources:

• http://www.seasite.niu.edu/Tagalog/Literature/Short%20Stories/How%20My%
20Brother%20Leon%20Brought%20Home%20A%20Wife.htm
• https://www.slideshare.net/JhengReyes/critical-approaches-types-of-
literary-criticism

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III. Procedure:
A. Reviewing of Previous Lesson or Presenting the New Lesson
ACTIVITY #1

Activate it!

A. Directions: Let’s test what you know. Read the following items very carefully. Write the letter
of the best answer in your pad paper.
1. It is the idea and method we use to interpret and analyze literature.
a. Literary Criticism c. Literary Wellness
b. Literary Approaches d. Literary texts

2. Regards literature as a unique and independent entity of human knowledge to be regarded in

its own terms outside of any other factors.
a. Formalism c. Feminism
b. Marxism d. Reader-Response

3. It examines literature in the cultural, economic, and political context in which it is written
or received.
a. Formalism c. Feminism
b. Marxism d. Post-colonial Theory

4. This literary approach involves how elements of the class struggle - primarily the differences
between the rich and the poor, are reflected in the text.

a. Marxism c. Postmodernism b. Feminism d.

Structuralism

5. A type of literary approach that analyzes a literary text from the woman’s perspective such as
those that involve stereotyping and the likes.

a. Post Colonialism c. Postmodernism b. Feminism d.

Reader Response

Dive into it!

Find out how well did you do in that initial activity by going through the following:
1. Formalism-is more intrinsic than extrinsic, it concentrates on the work itself,
independent of its author and the time and place it was written. In practice, it takes
one of two forms: explication - the unfolding of meaning word for word or line by
line, or analysis- the examination of the relation of the parts/elements.

2. Reader-Response- highly subjective and active, the meaning of a literary text is not
something put in the work itself by the writer; rather the meaning is an interpretation
created or constructed or produced by the reader as well as the writer.

3. Psychoanalytic Approach - views a text as a revelation of its author’s mind

and personality. It is focused on the hidden motivations of the characters.

4. Sociological Approach - argues that the social environment must be considered

when analyzing a text. It focuses on the values of a society and how those views are
reflected in the text.The core belief is: Literature is the reflection of its society.

a. Marxism - emphasizes economic and social conditions. Proponents are Karl

Marx and Friedrich Engels. It is concerned with the understanding of the role of
power, politics and money in literary texts.

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 b. Feminism - is concerned with the role, position and influence of women in a
literary text. It examines the way that a female consciousness is depicted by
both male and female writers.
5. Biographical Approach - argues that we must take the author’s life and
background into account when we study a literary text.

6. The New Historicist Approach - argues that every literary work is a

product of its time and its world. It provides background information
necessary to understand how literary texts were perceived their time.

7. Structuralism - relates the text to a larger, wider structure through inter-

textual connections or repetitive patterns; in other words, a text is not
autonomous but should be analyzed within wider social and cultural contexts.

Activate it!

B. Establishing a Purpose for the Lesson

ACTIVITY #2
Directions: Let’s assume that you were to get married, what factors would you take into
consideration?

Personal/Social Qualities of the

His/Her Family Background
Person you would marry

a. a.

b. b.

c. c.

d. d.

e. e.

C. Presenting Examples/Instances of the Lesson:

ACTIVITY #3
Directions: Read the sample text below.

How My Brother Leon Brought Home A Wife

(American Colonial Literature)
By Manuel E. Arguilla

She stepped down from the carretela of Ca Celin with a quick, delicate grace. She
was lovely. SHe was tall. She looked up to my brother with a smile, and her forehead was
on a level with his mouth.

"You are Baldo," she said and placed her hand lightly on my shoulder. Her nails were
long, but they were not painted. She was fragrant like a morning when papayas are in bloom.
And a small dimple appeared momently high on her right cheek. "And this is Labang of whom
I have heard so much." She held the wrist of one hand with the other and looked at Labang,
and Labang never stopped chewing his cud. He swallowed and brought up to his mouth more
cud and the sound of his insides was like a drum.

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 I laid a hand on Labang's massive neck and said to her: "You may scratch
his forehead now."

She hesitated and I saw that her eyes were on the long, curving horns. But she came
and touched Labang's forehead with her long fingers, and Labang never stopped chewing
his cud except that his big eyes half closed. And by and by she was scratching his forehead
very daintily.

My brother Leon put down the two trunks on the grassy side of the road. He paid Ca
Celin twice the usual fare from the station to the edge of Nagrebcan. Then he was standing
beside us, and she turned to him eagerly. I watched Ca Celin, where he stood in front of his
horse, and he ran his fingers through its forelock and could not keep his eyes away from
her. "Maria---" my brother Leon said.

He did not say Maring. He did not say Mayang. I knew then that he had always
called her Maria and that to us all she would be Maria; and in my mind I said 'Maria' and it
was a beautiful name.

"Yes, Noel."

Now where did she get that name? I pondered the matter quietly to myself, thinking Father
might not like it. But it was only the name of my brother Leon said backward and it
sounded much better that way.

"There is Nagrebcan, Maria," my brother Leon said, gesturing widely toward the west.

She moved close to him and slipped her arm through his. And after a while she said quietly.

"You love Nagrebcan, don't you, Noel?"

Ca Celin drove away hi-yi-ing to his horse loudly. At the bend of the camino real where the
big duhat tree grew, he rattled the handle of his braided rattan whip against the spokes of the
wheel.

We stood alone on the roadside.

The sun was in our eyes, for it was dipping into the bright sea. The sky was wide and deep
and very blue above us: but along the saw-tooth rim of the Katayaghan hills to the
southwest flamed huge masses of clouds. Before us the fields swam in a golden haze
through which floated big purple and red and yellow bubbles when I looked at the sinking
sun. Labang's white coat, which I had wshed and brushed that morning with coconut husk,
glistened like beaten cotton under the lamplight and his horns appeared tipped with fire.

He faced the sun and from his mouth came a call so loud and vibrant that the earth seemed to
tremble underfoot. And far away in the middle of the field a cow lowed softly in answer.

"Hitch him to the cart, Baldo," my brother Leon said, laughing, and she laughed with him a
big uncertainly, and I saw that he had put his arm around her shoulders.

"Why does he make that sound?" she asked. "I have never heard the like of it."

"There is not another like it," my brother Leon said. "I have yet to hear another bull call
like Labang. In all the world there is no other bull like him."

She was smiling at him, and I stopped in the act of tying the sinta across Labang's neck to
the opposite end of the yoke, because her teeth were very white, her eyes were so full of
laughter, and there was the small dimple high up on her right cheek.

"If you continue to talk about him like that, either I shall fall in love with him or become
greatly jealous."

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My brother Leon laughed and she laughed and they looked at each other and it seemed
to me there was a world of laughter between them and in them.

I climbed into the cart over the wheel and Labang would have bolted, for he was always like
that, but I kept a firm hold on his rope. He was restless and would not stand still, so that my
brother Leon had to say "Labang" several times. When he was quiet again, my brother
Leon lifted the trunks into the cart, placing the smaller on top.

She looked down once at her high-heeled shoes, then she gave her left hand to my brother
Leon, placed a foot on the hub of the wheel, and in one breath she had swung up into the
cart. Oh, the fragrance of her. But Labang was fairly dancing with impatience and it was all
I could do to keep him from running away.

"Give me the rope, Baldo," my brother Leon said. "Maria, sit down on the hay and hold on to
anything." Then he put a foot on the left shaft and that instand labang leaped forward. My
brother Leon laughed as he drew himself up to the top of the side of the cart and made the
slack of the rope hiss above the back of labang. The wind whistled against my cheeks and
the rattling of the wheels on the pebbly road echoed in my ears.

She sat up straight on the bottom of the cart, legs bent togther to one side, her skirts spread
over them so that only the toes and heels of her shoes were visible. her eyes were on my
brother Leon's back; I saw the wind on her hair. When Labang slowed down, my brother Leon
handed to me the rope. I knelt on the straw inside the cart and pulled on the rope until
Labang was merely shuffling along, then I made him turn around.

"What is it you have forgotten now, Baldo?" my brother Leon said.

I did not say anything but tickled with my fingers the rump of Labang; and away we went---
back to where I had unhitched and waited for them. The sun had sunk and down from the
wooded sides of the Katayaghan hills shadows were stealing into the fields. High up
overhead the sky burned with many slow fires.

When I sent Labang down the deep cut that would take us to the dry bed of the Waig which
could be used as a path to our place during the dry season, my brother Leon laid a hand
on my shoulder and said sternly:

"Who told you to drive through the fields tonight?"

His hand was heavy on my shoulder, but I did not look at him or utter a word until we were
on the rocky bottom of the Waig.

"Baldo, you fool, answer me before I lay the rope of Labang on you. Why do you follow
the Wait instead of the camino real?"

His fingers bit into my shoulder.

"Father, he told me to follow the Waig tonight, Manong."

Swiftly, his hand fell away from my shoulder and he reached for the rope of Labang. Then
my brother Leon laughed, and he sat back, and laughing still, he said:

"And I suppose Father also told you to hitch Labang to the cart and meet us with him
instead of with Castano and the calesa."

Without waiting for me to answer, he turned to her and said, "Maria, why do you think Father
should do that, now?" He laughed and added, "Have you ever seen so many stars before?"

I looked back and they were sitting side by side, leaning against the trunks, hands clasped across
knees. Seemingly, but a man's height above the tops of the steep banks of the Wait, hung the
stars. But in the deep gorge the shadows had fallen heavily, and even the white of Labang's coat
was merely a dim, grayish blur. Crickets chirped from their homes in the cracks

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in the banks. The thick, unpleasant smell of dangla bushes and cooling sun-heated earth
mingled with the clean, sharp scent of arrais roots exposed to the night air and of the
hay inside the cart.

"Look, Noel, yonder is our star!" Deep surprise and gladness were in her voice. Very low in
the west, almost touching the ragged edge of the bank, was the star, the biggest and
brightest in the sky.

"I have been looking at it," my brother Leon said. "Do you remember how I would tell you
that when you want to see stars you must come to Nagrebcan?"

"Yes, Noel," she said. "Look at it," she murmured, half to herself. "It is so many times
bigger and brighter than it was at Ermita beach."

"The air here is clean, free of dust and smoke."

"So it is, Noel," she said, drawing a long breath.

"Making fun of me, Maria?"

She laughed then and they laughed together and she took my brother Leon's hand and put
it against her face.

I stopped Labang, climbed down, and lighted the lantern that hung from the cart between
the wheels.

"Good boy, Baldo," my brother Leon said as I climbed back into the cart, and my heart sant.

Now the shadows took fright and did not crowd so near. Clumps of andadasi and arrais
flashed into view and quickly disappeared as we passed by. Ahead, the elongated shadow
of Labang bobbled up and down and swayed drunkenly from side to side, for the lantern
rocked jerkily with the cart.

"Have we far to go yet, Noel?" she asked.

"Ask Baldo," my brother Leon said, "we have been neglecting him."

"I am asking you, Baldo," she said.

Without looking back, I answered, picking my words slowly:

"Soon we will get out of the Wait and pass into the fields. After the fields is home---Manong."

"So near already."

I did not say anything more because I did not know what to make of the tone of her voice as
she said her last words. All the laughter seemed to have gone out of her. I waited for my
brother Leon to say something, but he was not saying anything. Suddenly he broke out into
song and the song was 'Sky Sown with Stars'---the same that he and Father sang when we
cut hay in the fields at night before he went away to study. He must have taught her the song
because she joined him, and her voice flowed into his like a gentle stream meeting a
stronger one. And each time the wheels encountered a big rock, her voice would catch in her
throat, but my brother Leon would sing on, until, laughing softly, she would join him again.

Then we were climbing out into the fields, and through the spokes of the wheels the light
of the lantern mocked the shadows. Labang quickened his steps. The jolting became more
frequent and painful as we crossed the low dikes.

"But it is so very wide here," she said. The light of the stars broke and scattered the
darkness so that one could see far on every side, though indistinctly.

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"You miss the houses, and the cars, and the people and the noise, don't you?" My
brother Leon stopped singing.

"Yes, but in a different way. I am glad they are not here."

With difficulty I turned Labang to the left, for he wanted to go straight on. He was breathing
hard, but I knew he was more thirsty than tired. In a little while we drope up the grassy
side onto the camino real.

"---you see," my brother Leon was explaining, "the camino real curves around the foot of
the Katayaghan hills and passes by our house. We drove through the fields because---but
I'll be asking Father as soon as we get home."

"Noel," she said.

"Yes, Maria."

"I am afraid. He may not like me."

"Does that worry you still, Maria?" my brother Leon said. "From the way you talk, he might be
an ogre, for all the world. Except when his leg that was wounded in the Revolution is
troubling him, Father is the mildest-tempered, gentlest man I know."

We came to the house of Lacay Julian and I spoke to Labang loudly, but Moning did not
come to the window, so I surmised she must be eating with the rest of her family. And I
thought of the food being made ready at home and my mouth watered. We met the twins,
Urong and Celin, and I said "Hoy!" calling them by name. And they shouted back and asked if
my brother Leon and his wife were with me. And my brother Leon shouted to them and then
told me to make Labang run; their answers were lost in the noise of the wheels.

I stopped labang on the road before our house and would have gotten down but my brother
Leon took the rope and told me to stay in the cart. He turned Labang into the open gate and
we dashed into our yard. I thought we would crash into the camachile tree, but my brother
Leon reined in Labang in time. There was light downstairs in the kitchen, and Mother stood
in the doorway, and I could see her smiling shyly. My brother Leon was helping Maria over
the wheel. The first words that fell from his lips after he had kissed Mother's hand were:

"Father... where is he?"

"He is in his room upstairs," Mother said, her face becoming serious. "His leg is bothering
him again."

I did not hear anything more because I had to go back to the cart to unhitch Labang. But I
hardly tied him under the barn when I heard Father calling me. I met my brother Leon going
to bring up the trunks. As I passed through the kitchen, there were Mother and my sister
Aurelia and Maria and it seemed to me they were crying, all of them.

There was no light in Father's room. There was no movement. He sat in the big armchair
by the western window, and a star shone directly through it. He was smoking, but he
removed the roll of tobacco from his mouth when he saw me. He laid it carefully on the
windowsill before speaking.

"Did you meet anybody on the way?" he asked.

"No, Father," I said. "Nobody passes through the Waig at night."

He reached for his roll of tobacco and hithced himself up in the chair.

"She is very beautiful, Father."

"Was she afraid of Labang?" My father had not raised his voice, but the room seemed to

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resound with it. And again I saw her eyes on the long curving horns and the arm of my
brother Leon around her shoulders.

"No, Father, she was not afraid."

"On the way---"

"She looked at the stars, Father. And Manong Leon sang."

"What did he sing?"

"---Sky Sown with Stars... She sang with him."

He was silent again. I could hear the low voices of Mother and my sister Aurelia downstairs.
There was also the voice of my brother Leon, and I thought that Father's voice must have
been like it when Father was young. He had laid the roll of tobacco on the windowsill once
more. I watched the smoke waver faintly upward from the lighted end and vanish slowly into
the night outside.

The door opened and my brother Leon and Maria came in.

"Have you watered Labang?" Father spoke to me.

I told him that Labang was resting yet under the barn.

"It is time you watered him, my son," my father said.

I looked at Maria and she was lovely. She was tall. Beside my brother Leon, she was tall
and very still. Then I went out, and in the darkened hall the fragrance of her was like a
morning when papayas are in bloom.

Directions: Complete the table below by

Do it! following the directions in the left column.

CITE EVIDENCE/S
DIRECTIONS: TASKS:
FROM THE TEXT:

1.Make a character sketch of

anyone of the characters in the
story through a concept map or
an actual drawing of how the
character was described.

Page | 36
 Camino waig
Real

2. Recall how the author

described the way (waig) which
Baldo took to bring home Leon
and Maria and the usual way
(Camino Real). Based from
such descriptions, draw these
two ways to show how exactly
different they are.

3. Retell the story by outlining

the significant events in form of a
pyramid.

4. List down some pronouns used

by the author in telling the story.

5.If you were to make a slogan

based from what the writer is
trying to convey in the story, what
would it be.

6. List down the challenges/

struggles/ problems encountered
by the characters in the story.

(Cite at least two)

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 Do it!
D. Discussing New Concepts:
ACTIVITY #4
Guide Questions:

1. Who is telling the story? Is he one of the characters of the story?

______________________________________________________________________
2. How did Baldo describe Maria?
______________________________________________________________________

3. Why did Baldo introduce Maria to Labang? What did Baldo ask Maria to do after the
introduction?
______________________________________________________________________

4. What was the intention of Noel’s Father in asking them to take the waig instead of the
Camino Real?___________________________________________________________
5. Did Maria react negatively while they were at the waig? Justify your answer.
_____________________________________________________________________
6. What impression did Maria have about her father-in-law?
______________________________________________________________________
7. Did Baldo help Maria to pass the trials set by his father? Cite instances to support your answer.

______________________________________________________________________
8. Did Maria pass the trials of Leon’s Father? Name the symbols used by the author to
communicate this.
______________________________________________________________________
9. If you were Maria, would you react in the same way that she did? Justify your answer.
______________________________________________________________________
10.What Filipino cultural practices were reflected in this story? Do you approve of them? Why or
why not?
_____________________________________________________________________

Dive into it!

Formalist criticism is, in essence, intrinsic criticism, rather than extrinsic, for (at least
in theory) it concentrates on the work itself, independent of its writer’s background – that is,
independent of biography, psychology, sociology and history. This approach examines a text
as a self-contained object; it does not, therefore, concern itself with biographical information
about the author, historical events outside of the story, or literary allusions, mythological
patterns, or psychoanalytical traits of the characters.

Fiction is defined as “a series of imagined facts which illustrates truths about human
life.” It is commonly called ―stories‖ and can either be (short story) or rather long (novella or

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novel). Drama also uses the traditional conventions of fiction but has an additional distinctive
characteristic of being performed and mounted on stage.

What is a short story?

Short Story is a narrative involving one or more characters, one plot, and one single
impression.

Formalist criticism is, in essence, intrinsic criticism, rather than extrinsic, for (at least
in theory) it concentrates on the work itself, independent of its writer’s background – that is,
independent of biography, psychology, sociology and history. This approach examines a text
as a self-contained object; it does not, therefore, concern itself with biographical information
about the author, historical events outside of the story, or literary allusions, mythological
patterns, or psychoanalytical traits of the characters

Elements of Short Story

1. Characters – persons, animals, plants or inanimate objects that give life to a story

2. Setting – refers to the time and place in which the events of a narrative take place; it
includes not only the physical environment in which the characters interact, but also the
cultural, sociological, political, religious, and other milieus as well as ideas, custom values,
beliefs of a particular time and place.

3. Conflict – provides and showcases the opposing objectives of the protagonist and the
antagonist or inside the protagonist. Conflict being synonymous with opposition, is the
motivating driving force that involves both characters and readers in the narrative.

Types of Conflict:

A. Man versus man- The conflict exists between the protagonist and antagonist

B. Man versus nature- The conflict exists between the protagonist and any of
natural forces (water, earth, wind, fire as well as diseases)

C. Man versus supernatural beings- The conflict exists between the protagonist and
supernatural beings or forces (deities, fairies, vampires and the like)

D. Man versus himself- The conflict exists between the protagonist and his own
self; this is especially true when the character is in state of dilemma.

4. Point of View – refers to the angle of narration; it indicates ―who is the narrator‖ and ―how
is the narration done.‖

A. First Person Point of View- The narrator does participate in the action of the
story; uses the pronouns ―I‖ and ―we‖

B. Third Person Point of View- The narrator doesn’t participate in the action of
the story; uses the pronouns like ―He, She, It, they or a name

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 5. Plot- the sequence of events happening in a story

Climax introduces the

central moment of
crisis that defines the
conflict

Falling Action
Rising Action
introduces the
introduces the
aftermath of conflict
conflict of the story

Exposition introduces Resolution/Denouement

the characters and introduces the moment of
dramatic situation of the insight, discovery or
story. revelation of the
character after the falling
action

Gustav Freytag’s Pyramid of Plot

6. Theme – the central idea or overall message that the story conveys.

E. Making Generalization and Abstractions about the Lesson

Formalism- This emphasizes the literary work as an independent creation, a self-

contained unit, something to be studied in its own based on its elements/parts.
A GRAPHIC ORGANIZER ILLUSTRATING
THE ELEMENTS OF A SHORT STORY

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F. Evaluating Learning
ACTIVITY #5
Directions: Read and understand the short story below.

Y Miss Phathuphats
by: Juan Crisostomo Sotto
Y Miss Yeyeng métung yang dalágang mipnûng coloréte lúpa. Ñgára qñg ding
péñgárî na bait la qñg métung nang súluc ning Capampáñgan, at qñg palálû nang malatîng
balén níti. Úli na níta y Miss Yéyeng Filipína ya manibat qñg bitis angga qñg buntuc, at anggá
na ing sicóti nang buac Capampáñgan naman.

Ing bié ra déti, anti ning malúcâ mû, lása mámagtinda mû; at y Miss Yéyeng marájil dé
canung ácáquit mámuntuc guinatan o cayâ bitiu-bitiung págtinda nang pupuntucan at lalácad
nung nú carin ing súgálan. Angga ngéni alâ pang súcat pánibayuan qñg bié nang Miss.

Mípayápâ ing revolución. Ing gobierno militar Americáno míbuclat yang escuelas at
mémílî yang mápilan caring sundálus a túrû caréti. Anti ning y Miss Yéyeng, Yéyeng ya pa
caníta, alâ ya pang Miss, atin yang áca-―súquî‖ caréting sundálus o caring maestrong
sundálus. Pígpilítá níti ing papagarálá né qñg escuelang nung nú ya túturû, bá lang
micáintindi; úlîng ñgéning misábi la, ing sundálus mág-Inglés ya at y Yéyeng Capampáñgan
né man, iniá pin píguimbutá nang matálic ing magáral níti.

Mápilan mûng búlan, y Miss Yéyeng sásábi néng Inglés; at caras ning ualûng búlan a
tapat, qñg capamílatá na ning maestrong sundálus pépátad dé qñg métung a balén, mig-
maestra ya carin.

Iniang carin né túturû, sabian pa casi ing pámamalíquid ding mémalén caya úlîng
ácáquit déng biása ya mo’ng Inglés caréla.
Macanian lálábas ing panaun: y Miss Yéyeng bitasâng é né sásábing Capampáñgan,
úlîng ñgána ácaliñguán na na. At ing Capampáñgan canu masias at masasaclit ya dílâ, iniá
capilan man é ya mitúlid at balid ya caníti.

Détang cúlam a mácáquilála caya, ñgéning daramdaman da iti, agad da néng

pícalbitan. Inalilan dé laguiûng méláus, at ing pémalaguiû ra ining matnî at masaliñgásang a
―Miss Phathupats‖, laguiûng ménibat qñg tináuac nang malápad a pílit nang úpítan qñg
corcheng misnâng catálic a bibílî na, iniá pin alâ yang quéliuan qñg patúpat o súman
bulagtâng mátálic a bidbid.

Manibat na caníta iting laguiû mípalácad caya, at ácaliñguan dang méláus ing Yéyeng
a malambut nang paláyó. Ing Miss Phathupats ya ing mípalácad.

Macanian é mélambat míbait ya ―Ing Émáñgabíran‖, pájayagan Capámpañgan

Bacúlud. Qñg métung a fiésta ó veláda qñg balén X a nung nú ya mítágun y Miss Phathupats
babásan dé iti. Línápit ya y Miss, at iniang áquit na ing Capampáñgan ya, sínibî yang baguiâ,
píling né ing buntuc na, at ñgána:
―Mi no entiende el Pampango.‖

―Mi no entiende ese Castellano, Miss,‖ ñgána naman ning métung a pusacal. Péquiapúsá né
tónu.
Détang pácarungut mípatíman la; dápót úlîng maquipégarálan la, agad dang linílî’t é
pépajalatâ qñg malagûng Miss. At iti agguiang bálû na ing anti réng mumulañgan, sinúlung na
rin, at ñgána:

―Qñg camatutuánan, tutû cung págcasaquítan sabian ing Capampáñgan, at lálû na pa

nung babásan cu.‖

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 Caníting mápilan a amánung sinábi na, línub la ñgan ding anggang diccionariong
tinda, o ñgácu uarî, ing Inglés, Castílâ, Tagálug a mábabâng písamutsámut na. É ra na
tutûng ácáuat ding dáramdam, mípacailî lang masican.
Mimuâ ya y Miss Phathupats, inarapá nó ring máilî at ñgána:
―¿Por qué reír?‖
―Por el champurao, Miss,‖ ñgána ning minúnang méquíbat.

Lálûng mésican ing ságacgácan détang máquiramdam, at i Miss Phathupats mítatas né man
a vapor.
Ing métung a macaruñgut ñgána:
―É yu págmulalan qñg y Miss Phatupats é ya biásang Capampáñgan: múna úlîng
malambat néng máquiútus caring sundálus a Americano, at ing cadduâ, é né Capampáñgan.
Ing caustá na níta ing laguiû na Miss Phathupats.‖

Caníta mémacbung. Acbung a misnâng casican, mitdas ya ing caldéra nang Miss
Phathupats, at quétang asbuc nang masápâ, linual ñgan ing lablab ning Vesúbio, ó ing
sablâng sábing marinat qñg amánung Capampáñgan biglâ na ñgang pémísan qñg asbuc
nang méguing dapug.

―Alâng maríne! Mapanácó! Mánlalásun! Anac –!‖ ñgána qñg mésábing amánung
Capampáñgan.
―Abá! Capampáñgan ya palá!‖ ñgára ding dáramdam.

―Uâ, é yu bálô?‖ ñgána ning métung a mácáquilála quéa. – ―Anac neng matuâng
Godiûng Cacbung a cabárriu cu.‖
Mípasagacgac lang masican ding pácayalbé. Y Miss Phathupats mípaquiac ya caníta,
at quétang pámipulis-púlis na qñg luâ nang tútúlû tínuquî ing macapal a blanquéte. Quétang
lúpa na lintó ing talagá nang cúle, matuling ya pa qñg duat. Iniá iniang áquit da iti ding lalbé,
lálû lang mípacailî at ñgára:
―Abáh! Matuling ya pala!‖
―Uâ, Americána Négra ya!‖
Gúlisácan, pacpácan, ságacgácan ing mararamdam caníta. Y Miss Phathupats é na
ábatâ. Linual yang tapá-tapisung qñg dálan at ñgána:
―Mi no vuelve en esta casa.‖
―¡Adiós, Miss a é biásang Capampáñgan!‖
―¡Adiós, Miss Alice Roosevelt!‖
―¡Adiós, Miss Phathupats!‖

Macanian yang písalusálu ra. At ing pacácalúlûng Yéyeng mécó yang bulung-bulung
con el rabum inter pernarum…
Caracal da ring Miss Phathupats qñg panaun ñgéne, é nó biásang Capampáñgan ó
pícaríne ra ing Capampáñgan úlîng mácásábi nóng Inglés a champurao.

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 Do it!

Directions: Make an analysis using the formalist approach highlighting on the elements of a
short story namely: characters, setting, conflict, plot, point of view and theme, using the
following rubrics for 50 points.
VGE GE SE LE
1. The analysis provides meaningful
content which includes the elements
20 17 14 11
of fiction. (Characters, setting, theme,
plot, point of view and tone)
2. The analysis is written with the use of
grammatically correct sentences. 10 8 6 4
Proper punctuation is observed.
3. Ideas presented in the analysis are
well organized with the help of 10 8 6 4
transitional devices.
4. Evidences are cited from the text. 10 8 6 4
Total ----/50
Legend: VGE – To a very great extent; GE – To a great extent; SE – To some extent; LE – To a little extent

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