10 English

Quarter 1 - Module 6:
Evaluating a Text Material
with a Set of Criteria
English – Grade 10
Alternative Delivery Mode
Quarter 1 EVALUATING A TEXT MATERIAL WITH A SET OF CRITERIA
First Edition, 2020
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Development Team of the Module

Authors: Jaiah Anikka A. Ignacio
Gabrielle B. Tolpo
Language Reviewer Roda S. Jimenez
Content Editor: Roda S. Jimenez
Illustrator: Joan A. Peralta
Josephine M. dela Cruz
Layout Artist: Karl John F. Del Carmen

Management Team
Gregorio C. Quinto, Jr., EdD
Chief, Curriculum Implementation Division
Rainelda M. Blanco, PhD
Education Program Supervisor - LRMDS
Agnes R. Bernardo, PhD
EPS-Division ADM Coordinator
Jay Arr V. Sangoyo, PhD
Education Program Supervisor - English
Glenda S. Constantino
Project Development Officer II
Joannarie C. Garcia
Librarian II

Department of Education, Schools Division of Bulacan

Curriculum Implementation Division
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Capitol Compound, Guinhawa St., City of Malolos, Bulacan
E-Mail Address: lrmdsbulacan@deped.gov.ph
 10

English
Quarter 1 - Module 6:
Evaluating a Text Material
with a Set of Criteria
4
 Introductory Message
For the facilitator:
Welcome to English 10 Project CAP-LRE Alternative Delivery Mode (ADM) Module on Evaluating a
Text Material with a Set of Criteria!

This module was collaboratively designed, developed and reviewed by educators from public
institutions to assist you, the teacher or facilitator, in helping the learners meet the standards set by
the K to 12 Curriculum while overcoming their personal, social, and economic constraints in
schooling.

This learning resource hopes to engage the learners into guided and independent learning activities
at their own pace and time. Furthermore, this also aims to help learners acquire the needed 21st
century skills while taking into consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the body of the module:

Notes to the Teacher

This contains helpful tips or strategies that will
help you in guiding the learners.

As a facilitator, you are expected to orient the learners on how to use this module. You also
need to keep track of the learners’ progress while allowing them to manage their own
learning. Furthermore, you are expected to encourage and assist the learners as they do
the tasks included in the module.

For the learner:

Welcome to English 10 Project CAP-LRE Alternative Delivery Mode (ADM) Module on
Evaluating a Text Material with a Set of Criteria.
This module was designed to provide you with fun and meaningful opportunities for guided
and independent learning at your own pace and time. You will be enabled to process the
contents of the learning resource while being an active learner.
This module has the following parts and corresponding icons:

This focuses on the competencies that

you are expected to learn in the
module.

This part includes a pre-assessment that

intends to check your background
knowledge regarding the lesson that you
are about to take.

This serves as a review to help you link

the current lesson with the previous one.
This is where the new lesson will be
introduced to you in various ways.

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 This is where the discussion of the lesson
was provided. This will help you
understand new concepts and skills.

This contains activities and independent

exercises to test and build up your
understanding of the topic. This also
highlights morals and values that you can
apply in real life.
This includes sentences/phrases to
summarize the concepts, skills, and
values that you learn from the lesson.

This section provides an activity which will

help you use your new knowledge in
applying it to real life situations,
or concerns.
This is a task which aims to evaluate your
level of mastery in achieving the learning
competency.
In this portion, another activity will be
given to you to enrich your knowledge
or skill of the lesson learned.

This is a list of all the resources used or

cited in this learning module.

At the end of this module you will also find:

References -This is a list of all sources used in developing this module.
The following are some reminders in using this module:
1. Use the module with care. Do not put unnecessary mark/s on any part of the
module. Use a separate sheet of paper in answering the exercises.
2. Don’t forget to answer What I Know before moving on to the other activities
included in the module.
3. Read the instruction carefully before doing each task.
4. Observe honesty and integrity in doing the tasks and checking your answers.
5. Finish the task at hand before proceeding to the next.
6. Return this module to your teacher/facilitator once you are through with it.
If you encounter any difficulty in answering the tasks in this module, do not hesitate to
consult your teacher or facilitator. Always bear in mind that you are not alone.

We hope that through this material, you will experience meaningful learning and gain deep
understanding of the relevant competencies. You can do it!

2
 This module contains and focuses on one lesson which is Evaluating a
Text Material with a Set of Criteria. This lesson contains activities that are
arranged from simple to complex to ensure the learning of the target Most
Essential Learning Competency.

As you go along with the lesson, you are expected to:

1. distinguish the different parts of writing a short story critique;
2. critique a short story using the given set of criteria; and
3. promote honesty through an advocacy which helps concerned
individuals.

Directions: Choose the correct answer to each question. Circle the letter of your
answer.

1. Which element of the introductory paragraph includes the important information

which leads to the thesis?
a. opinion b. main points c. subject d. background

2. What is the last part of a story which has to clearly tell what happened to the
characters?
a. structure b. dialogue c. ending d. setting

3. What is the longest part of a critic paper?

a. developmental paragraphs c. introductory paragraphs
b. closing paragraph d. opening paragraph

4. What is the most important element in writing a critique paper?

a. thesis statement c. main points
b. scene setting d. suspense value

5. Which part of the developmental paragraph tells how the plot is being
developed?
a. conflict b. opening c. structure d. ending

6. Why is the closing paragraph positioned at the latter part of the paper?
a. It gives additional ending to the story.
b. It briefly sums up all the points discussed.
c. It highlights the thesis statement.
d. It presents the writer’s viewpoints.

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7. Which of the following is NOT under the opening part of the developmental
paragraphs?
a. introduction of central character c. scene setting
b. problem description d. suspense value

8. What do you call the part where you evaluate the time and place of a piece of
writing, whether they are real, fictitious or properly positioned?
a. setting b. opening c. conflict d. plot

9. Which part is the most appropriate place for additional opinions and final
conclusions?
a. characterization c. hooks
b. closing paragraph d. problem description

10. Where do you usually put the thesis statement?

a. after the developmental paragraphs
b. in the middle of the closing paragraph
c. near the end of the introductory paragraph
d. before the introductory paragraph

11. Which is NOT part of the developmental paragraphs?

a. conflicts b. characterization c. background d. dialogue

12. Which of the following questions falls under the problem description part of the
opening?
a. Is the story grabbing from the first line?
b. Do flashbacks seem well placed and relevant?
c. Has the plot developed well throughout the story?
d. Can you tell what problem confronts the central character soon enough?

13. Which part includes the subject and opinion of the paper followed by the main
points?
a. introduction b. opinion c. thesis d. ending

14. Which of the following is used to evaluate or comment on a book or a short

story?
a. thesis statement c. main points
b. critical review d. scene setting

15. Which part is where you put your comments on the originality or authenticity of
the plot?
a. ending b. plot c. suspense value d. characterization

These days, people are so into online buying and selling. Even before the
pandemic, food deliveries are on demand. However, some customers pretending to
be one, find it fun placing order and giving a different address which makes it
difficult for the delivery personnel. Sometimes food delivery drivers end up eating
the ordered food or trying to sell it to people they bump into.

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 Read and analyze the story which shows the experience of a food delivery
driver. Underline the adverbs of affirmation and negation used in the story.

“Food Delivery!”

Gabrielle B. Tolpo

“Bye, nanay. Always be careful and do not forget your face mask!”

Cynthia is a twenty-nine-year-old food

delivery lady. She started working at a locally
well-known fast food restaurant before the
pandemic happened. She had never encountered
serious problems or unexpected accidents while
working so she decided to continue her job to
provide for her family. She knew that as a
single-parent, she needs to work twice as hard to
give the necessities of her children.

One sunny morning, Cynthia was preparing

to go to work when her youngest son ran to her and
reminded her to be careful and to wear a face mask
always.

“Yes, anak. Nanay will be very careful, wait for me and I will bring you your
favorite pasalubong.”

When Cynthia arrived at work, she immediately received a delivery order –

Two family size pizza and a family bundle meal worth 2,000 pesos. She hurriedly
prepared her protective gears and motorcycle. After she received the delivery
address from her manager, she immediately went to it so as not to waste time.

“Sorry but I did not order any foods online. You must have received a
fake call or someone must have done a prank call on you.”

“Are you sure ma’am? Can you please

check it one last time? Can you ask the
members of your family? Maybe they made an
order without you knowing it?” Cynthia asked
the homeowner with a worried face.

“I’m really sorry but that order is not ours.

You certainly need to communicate with your
manager to solve your problem.” The
homeowner of the given address suggested
while sympathizing with what happened to
Cynthia.

Cynthia can barely walk from what had

happened. She rested for a while before going
back to the restaurant. She composed herself first and told herself that everything
will be all right. She kept on repeating those words to console her heavy heart from
what happened.

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 “Lord, please help me overcome this problem.”

After a few minutes, she called her manager but could hardly speak. She tried to
clearly explain what happened. Her manager just told her to go back so they could
discuss what happened.

While she’s on her way back to the restaurant, her manager kept on calling her. She
decided to make a stop first and answer the call.

“Yes, ma’am. Sorry, I was on my way back.”

“Another customer called with the same delivery order, you just need to
deliver that to this new address. You’re definitely lucky today Cynthia, despite the
prank call we received. God is good.” Her manager told her with full of happiness.

Cynthia smiled from ear to ear when she heard the good news. She immediately
changed her route to deliver the food to the new address.

“Thank you, ma’am. You are indeed a blessing to me.” Cynthia thankfully said
to the customer after receiving the payment.

Cynthia’s day came to an end and even though she

delivered foods the entire day, her heart couldn’t
seem to contain the happiness from what she had
experienced.

“Lord, thank you for helping me.”

“Nanay’s home! I missed you nanay!” The

youngest son exclaimed after seeing his nanay
arrived at the gate.

Before she hugged her children, Cynthia made sure

to sanitize herself first and her motorcycle. She
immediately took a shower and changed her clothes
after sanitizing her motorcycle. When she could finally
hug her children, she took out a home-made
choco-butternut cake from her bag.

“Here’s your pasalubong!”

The children were so happy to see and hug their nanay. They were also
excited to eat the pasalubong brought home to them. Looking at her children,
Cynthia realized that what she had experienced that day is nothing compared to the
tons of hardships she had overcome for her family.

Note: The adverbs of affirmation and negation in this story can be found on page
25, Answer Key.

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Directions: Read and analyze each question carefully and look for the answers from
the story you’ve read. Write your answers in complete sentence.

1. Who are the characters in the story?

__________________________________________________________________

2. How will you describe Cynthia?

__________________________________________________________________
3. What problem did she encounter from work that day?
__________________________________________________________________
4. How did she deal with the problem?
__________________________________________________________________
5. From the story, how was her problem solved?
__________________________________________________________________

Apo, what you’ve read is an

example of a short story. To
appreciate a piece of writing,
you have to learn how to
evaluate them. Try to learn
from these guidelines….

Guidelines in Writing a Short Story Critique

An analytic or critical review of a book or short story is not primarily a

summary; rather, it comments on and evaluates the work in light of the specific
issues and theoretical concerns in a course.

THE INTRODUCTORY PARAGRAPH

The introductory paragraph for the short story critique has 3 major elements:
the background, your opinion on the work as a whole, and the thesis. The
background includes all of the relevant information (especially who, what, when,
where, and why) leading up to the thesis. The thesis includes the subject and
opinion of the paper followed by the main points.

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 The most important element in writing a critique is a workable thesis
statement, which appears near the end of the introductory paragraph. Below is a
sample thesis statements:

SUBJECT: The Blind Assassin

OPINION: show’s Atwood’s skills as a writer
MAIN POINTS: because of the visual imagery, the strong characters and the
memorable message.

THE DEVELOPMENT PARAGRAPHS

Remember that these can vary in length and in number. If you state 3 main
points in your thesis, you should have 3 development paragraphs. You may get idea
from the following:

1. Opening

Hooks tell if the story is grabbing from the first line or if it makes
you want to read on.
Introduction of Central Character tells if the central character is
introduced early in the story.
Scene Setting tells if you can picture the scene early enough in the
story.
Problem Description tells if you can identify what problem confronts
the central character soon enough or if you are left wondering what the
story is all about.

2. Characterization

Central Character tells if the central character is clearly defined and

appears in the first few lines of the story, or if he/she has likable
traits.
Other characters tell if they are they easily definable or if they get
confused with others.

3. Dialogue tells if the dialogue sounds authentic, meaningful or if it reads well

when you read them aloud.

4. Setting tells if it seems to be the right place for the story. If it is a real place,
has the author researched it enough? If it is a fictitious place, has the author
planned the setting(s) carefully, making it seem alive and real?

5. Conflicts tell if the conflicts in the story are authentic, artificial or original.

6. Suspense Value tells if as you go reading it you are able to guess what’s
going to happen in the succeeding parts or if makes you hunger for the next
things to happen. Does the story go well from action to action?

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 7. Ending tells something about the ending. Does it need a lot of explanation?
Is the ending concise or does it ramble on?

8. Structure tells something about how the plot is developed. Are the
characters described in time or after you've imagined them for yourself? Are
the actions well planned and run well in sequence? Do flashbacks seem well
placed and relevant or very confusing? Is the time span feasible? (Could the
events have taken place in the given time span?)

9. Plot tells if the story plot is original, or if it sounds authentic or contrived.

THE CLOSING PARAGRAPH

Here you give your general impression of the story. In general, are the
descriptions clear, overemphasized or not clear enough? You should also briefly
summarize all the issues under discussions. You may also put here what you
appreciate the most about the text you read like values and lessons highlighted.
Any additional opinions on the subject would be appropriate at this time as well as
any final conclusions.

Great job, Apo! To help

you understand it more,
try to look at this example
I prepared for you…

Josie Fenner
ENG 104, Prof. C. Agatucci
Midterm Literary Analysis Paper
29 October 2003

The Lord of the Rings

Some stories can affect people emotionally, but once in a while a story can
call a person to escape to it. The Lord of the Rings is an enchanting story with
masterful use of setting and sensational characters that engages readers and can
move them to experience life in a deeper way. As a child, J.R.R. Tolkien lived in
Africa until his father passed away. Then his mother moved them to England. Mrs.
Tolkien made certain that her children learned literature and languages. It was
probably due somewhat to his mother’s influence that Tolkien became who he
was: an author and a linguist.

Tolkien had a special interest in "obscure" languages, even to the point of

creating his own. He called it High-Elven and often in his stories he used the
language. Tolkien also invented an entire world called Middle Earth where The
Lord of the Rings takes place.

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Because he had invented this world it had to bow to his will and rules. He was an
accomplished linguist and this greatly helped his ability to vividly portray and
create in the reader’s mind Middle Earth, a place that no person has ever been.

The first two paragraphs

above apo are the writer’s
INTRODUCTORY
PARAGRAPH.

Charters defines setting as "the place and time of the story." Also according
to Charters, "When the writer locates the narrative in a physical setting, the
reader is moved along step by step toward acceptance of the fiction".

Tolkien’s setting gives the reader a sense of goodness or malevolence.

Unlike an environment that is removed from the work, Tolkien’s setting sometimes
is the story. Possibly the setting could even tell the story if there were no
characters. For example, in the house of Elrond of the elves, Frodo's experience is
defined by the setting.

He [Frodo] found his friends sitting in a porch on the side of the house
looking east. Shadows had fallen in the valley below, but there was still a light on
the faces of the mountains far above. The air was warm. The sound of running
and falling water was loud, and the evening was filled with a faint scent of trees
and flowers, as if summer still lingered in Elrond’s gardens.

This describes a peaceful place that is not quite reality. The rest of the world
is moving into winter, but Elrond’s gardens haven’t realized that yet. Next, is
another example of how Tolkien uses setting to create a picture that could not be
obtained by just explaining the scenery. Tolkien is able to bring a place to life with
words. We can see this when the Fellowship winds up going through the Mines of
Moria.

The Company spent that night in the great cavernous hall, huddled close
together in a corner to escape the draught: there seemed to be a steady inflow of
chill air through the eastern archway. All about them as they lay hung the
darkness, hollow and immense, and they were oppressed by the loneliness and
vastness of the dolven halls and endlessly branching stairs and passages. The
wildest imaginings that dark rumor had ever suggested to the hobbits fell
altogether short of the actual dread and wonder of Moria.

This description is one of dread and fear, but like the experience at Elrond’s
house, it is filled with word pictures. It tells the reader that this place is terrible and
that some evil is afoot.

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 Charters describes characters in literature as "the people who make
something happen or produce an effect," and explains that the "characters must
come alive". Tolkien received criticism on his characters by Raffel as well. Raffel
feels that there is "too little meaningful truth about human reality and our own
existences in Tolkien’s characters." Kathryn Crabbe seems to disagree with this
statement. In her efforts to describe the characters as heroic she also shows us
they have some very modern human characteristics.

The paragraph you’ve

just read is already the
DEVELOPMENT
PARAGRAPH which
started with the story’s
setting and continued
with its characters.

One of the things that makes The Lord of the Rings so compelling is the
way the setting and characters work together to produce the ultimate affect. The
characters make the setting even more potent. As the external setting influences
each character the reader sees how the struggle becomes internal. We are led to
believe that the characters are closely connected to the earth. The diversity of
the setting and characters simply propels us to see the uniqueness of each
place. Where a group of caves might give us one thought, hearing Gimli discuss
the majesty of his cave experience helps us to appreciate the diversity of the
group and to see it through a cave dwellers eyes. "These are not holes," said
Gimli. "This is the great realm and city of the Dwarrowdelf. And of old it was not
darksome, but full of light and splendor, as is still remembered in our songs".

The Lord of the Rings is essentially a story about the struggle of good
verses evil. The setting helps the story personify the difficulties the characters
face. The characters go through the trials and share their feelings of fear and
triumph with us. The two work together to make an excellent portrayal of external
and internal struggles that yield an otherwise impossible effect.

Finally, the writer

ended the critique with
the CLOSING
PARAGRAPHS.

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Congratulations, apo! You finished our lesson in writing a short story critique. I think
you’re ready to practice your skills now.

Independent Activity 1

You Complete Me

Directions: Complete the graphic organizer showing the guidelines in writing a short
story critique by supplying the missing letters in each number.

Introductory
Paragraph
(3) _ e _ _ _ o _ _ _ n _
Paragraph

SHORT STORY CRITIQUE

Closing
Paragraph
1) b _ _ _ _ r _ _ _ _ Opening
opinion Characterization
Dialogue
(2) _h_ _ _ _ statement
Conclusions
(4) S _ _ _ _ _ _
Conflicts Summary of the
evaluation
(5) _ _ s _ e _ _ e Value
Ending
Structure
Plot

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Independent Assessment 1

Crossword Puzzle

Directions: Identify what is being described in each number to complete the

crossword puzzle.

Across
1. It reveals the personality of the character in the story.
3. It is a conversation between two or more characters in the story.
Down
2. The main problem or struggle in a story.
4. Your own view about the story.
5. It shows how the plot was developed.

Independent Activity 2

Good or Evil?

Directions: Distinguish whether the characters from different stories are

PROTAGONIST or ANTAGONIST then write your answers before each num-
ber.

____________1. Lam-Ang from the famous literary work “Biag ni

Lam-Ang.”

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 _____________2. Ibong Adarna from the famous literary
work “Ibong Adarna”

_____________3. Padre Damaso from the famous

literary work “Noli Me Tangere”

____________4. Florante from the famous literary work

“Florante at Laura”

_____________5. Zuma from the famous comic book

“Zuma”

Independent Assessment 2

Who are you?

Directions: Describe the following main characters from the famous Filipino
fictional comics entitled “Darna”. Use the appropriate characterization. Write your
answer on the space provided.

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Independent Activity 3

No Label?

Directions: Read each paragraph carefully. Analyze the paragraph and identify from
which part of the Short Story Critique it belongs. Write your answer on the line
before each number.
__________________1. Egri is a transparent and expressive character who does
not hesitate to act, speak, or run away (if he has to). His frank manner makes him
easily knowable and perhaps, for some, relatable and even comical. In a sense, he
is your average man who is put into extraordinary circumstances. It’s that tension
between the ordinary and the extraordinary that keeps the reader interested. As a
reader I want to know how the protagonist is going to react and cope with all that
happens to him.

__________________2. The setting is atmospheric and effective. In the opening

chapter, it’s nighttime, there is a manor, a dark forest, strong winds and rain. The
important thing here is to make sure the weather is consistent. In the forest, it’s
windy and rainy, but when Marlo is looking through the window, the sky is bluish
and clear, with no sign of wind or rain. So, as a reader, I’m wondering if the wind
and rain in the forest was an isolated event? Also, Marlo is looking out at a city
skyline. This was unexpected, since the way the beginning is written, it seems we
are in the remote countryside, where there are forests that go on for miles.
Something to think about.

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___________________3. Most of my editorial recommendations have already been
given, but to summarize here, I think what you have written is a contemporary
Gothic horror story that, with some refinements, will no doubt find avid readers of
genre fiction. The question you may need to ask yourself is, Do I want to give
readers something new? If so, you may have to rethink the tropes and motifs you
are using and reimagine this story differently, so as to surprise and satisfy the more
sophisticated reader of horror fiction.

___________________4. Marlo is the second major character and he is intriguing,

because not only is he a vampire, but a remorseful one. That in itself makes him
rise a bit above the stock vampires you see in fiction and movies. As a reader, I
want to know more about him and what he has done in the past and what he hopes
to do to rectify his past sins. I suggest developing this further in subsequent
chapters.

____________________5. Overall, the plot is unfolding naturally—or perhaps I

should say, classically. The danger in taking this approach is that a sophisticated
reader of horror is not going to find much here that is fresh and new in the way of
storytelling. But if it’s an ordinary horror story that you’re hoping to provide, then I
think that’s what you have here.

Independent Assessment 3

What Do You Feel?

Directions: On the line before each number, put the emoticon if the given
question applies to the guide questions in critiquing a short story. Otherwise, put a
emoticon.

____1. Does the dialogue read well?

____2. Does the dialogue seem authentic and meaningful?
____3. Are the characters physically fit?
____4. Do you want to know what is going to happen next?
____5. Where is the setting after the climax?
____6. Are the characters easily definable or do they get confused with others?
____7. Is the time span suitable for the story or should it take place over a longer or
shorter period of time?
____8. Does the story have long character dialogues?
____9. Is the story grabbing from the first line or does it make you want to read on?
____10. Who are the unimportant characters?

Directions: In 2 to 3 sentences, continue the statements with things you have

learned from the lesson and things you want to explore more about the lesson.
Write your answer on the space provided for.

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 I have learned
_______________________________________________________
__________________________________________________________
_____________________________________________________

I want to explore more

_______________________________________________________
__________________________________________________________
_____________________________________________________

Remember this apo:

An analytic or critical review of a book or short
story is not primarily a summary; rather, it
comments on and evaluates the work in light of
the specific issues and theoretical concerns in a
course.

Being honest at all times will help us gain trust from the people around us.
We all know that bad jokes will lead to unpredicted situations and cause people to
lose their trust in you. Read and analyze the given short story entitled “The
Centipede” by Rony V. Diaz. Find out the consequence the character experienced
in the story because of his actions.

After reading and reflecting from the story, construct your self-written critique
about the story using the guidelines given from the lesson. Write your Short Story
Critique in a short bond paper.

Your Short Story Critique will be graded based on the Scoring Rubric provided
below.
(The Scoring Rubric was modified and adopted from studylib.net)

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 6 5 4 3 2
Description/Characteristics
points points points points points
1. Introductory paragraph contains
the 3 major elements.
2. The development paragraph was
explained well with supporting
evidences from the short story. It
includes evaluation of the following:
• Opening
• Characterization
• Dialogue
• Setting
• Conflicts
• Suspense value
• Ending
• Structure
• Plot
3. The closing paragraph justified
the summary of the evaluation and
contains final conclusions.
4. All paragraphs were well
developed and used topic
sentences to stay focused.
5. Written expression (use of
language and flow of ideas) and
Mechanics (punctuation, spelling,
grammar, usage of words)
TOTAL

COMMENTS:
 Too much retelling of story
 Lacks discussion of evaluation
 Repetitious – ideas are repeated instead of being developed

The Centipede
by Rony V. Diaz

When I saw my sister, Delia, beating my dog with a stick, I felt hate heave like a
caged, angry beast in my chest. Out in the sun, the hair of my sister glinted like
metal and, in her brown dress, she looked like a sheathed dagger. Biryuk hugged
the earth and screamed but I could not bound forward nor cry out to my sister. She
had a weak heart and she must not be surprised. So I held myself, my throat
swelled, and I felt hate rear and plunge in its cage of ribs.

I was thirteen when my father first took me hunting. All through the summer of that
year, I had tramped alone and unarmed the fields and forest around our farm. Then
one afternoon in late July my father told me I could use his shotgun.

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Beyond the ipil grove, in a grass field we spotted a covey of brown pigeons. In the
open, they kept springing to the air and gliding away every time we were within
range. But finally they dropped to the ground inside a wedge of guava trees. My
father pressed my shoulder and I stopped. Then slowly, in a half-crouch, we
advanced. The breeze rose lightly; the grass scuffed against my bare legs. My
father stopped again. He knelt down and held my hand.

“Wait for the birds to rise and then fire,” he whispered.

I pushed the safety lever of the rifle off and sighted along the barrel. The saddle of
the stock felt greasy on my cheek. The gun was heavy and my arm muscles
twitched. My mouth was dry; I felt vaguely sick. I wanted to sit down.

“You forgot to spit,” my father said.

Father had told me that hunters always spat for luck before firing. I spat and I saw
the breeze bend the ragged, glassy threads of spittle toward the birds.

“That’s good,” Father said.

“Can’t we throw a stone,” I whispered fiercely. “It’s taking them a long time.”

“No, you’ve to wait.”

Suddenly, a small dog yelping shrilly came tearing across

the brooding plain of grass and small trees. It raced
across the plain in long slewy swoops, on outraged
shanks that disappeared and flashed alternately in the
light of the cloud-banked sun. One of the birds whistled
and the covey dispersed like seeds thrown in the wind. I
fired and my body shook with the fierce momentary life of
the rifle. I saw three pigeons flutter in a last convulsive
effort to stay afloat, then fall to the ground. The shot did
not scare the dog. He came to us, sniffing cautiously. He
circled around us until I snapped my fingers and then he
came me.

“Not bad,” my father said grinning. “Three birds with one

tube.” I went to the brush to get the birds. The dog
ambled after me. He found the birds for me. The breast
of one of the birds was torn. The bird had fallen on a spot
where the earth was worn bare, and its blood was spread like a tiny, red rag. The
dog scraped the blood with his tongue. I picked up the birds and its warm, mangled
flesh clung to the palm of my hand.

“You’re keen,” I said to the dog. “Here. Come here.” I offered him my bloody
palm. He came to me and licked my palm clean.

I gave the birds to my father. “May I keep him, Father?” I said pointing to the dog.
He put the birds in a leather bag which he carried strapped around his waist.

Father looked at me a minute and then said: “Well, I’m not sure. That dog belongs
to somebody.”

19
 “May I keep him until his owner comes for him?” I pursued.

“He’d make a good pointer,” Father remarked. “But I would not like my son to
be accused of dog-stealing.”

“Oh, no!” I said quickly. “I shall return him when the owner comes to claim
him.”

“All right,” he said, “I hope that dog makes a hunter out of you.”

Biryuk and I became fast friends. Every afternoon after school we went to the field
to chase quails or to the bank of the river which was fenced by tall, blade-sharp
reeds to flush snipes. Father was away most of the time but when he was home he
hunted with us. Biryuk scampered off and my sister flung the stick at him. Then
she turned about and she saw me.

“Eddie, come here,” she commanded. I approached with apprehension.

Slowly, almost carefully, she reached over and twisted my ear.

“I don’t want to see that dog again in the house,” she said coldly. “That dog
destroyed my slippers again. I’ll tell Berto to kill that dog if I see it around again.”

She clutched one side of my face with her hot, moist hand and shoved me,
roughly. I tumbled to the ground. But I did not cry or protest. I had passed that
phase. Now, every word and gesture she hurled at me I caught and fed to my
growing and restless hate.

My sister was the meanest creature I knew. She was eight when I was born, the
day my mother died. Although we continued to live in the same house, she had
gone, it seemed, to another country from where she looked at me with increasing
annoyance and contempt.

One of my first solid memories was of standing before a grass hut. Its dirt floor was
covered with white banana stalks, and there was a small box filled with crushed
and dismembered flowers in one corner. A doll was cradled in the box. It was my
sister’s playhouse and I remembered she told me to keep out of it. She was not
around so I went in. The fresh banana hides were cold under my feet.

The interior of the hut was rife with the sour smell of damp dead grass. Against the
flowers, the doll looked incredibly heavy. I picked it up. It was slight but it had hard,
unflexing limbs. I tried to bend one of the legs and it snapped. I stared with horror
at the hollow tube that was the leg of the doll. Then I saw my sister coming. I hid
the leg under one of the banana pelts. She was running and I knew she was
furious. The walls of the hut suddenly constricted me. I felt sick with a nameless
pain.

My sister snatched the doll from me and when she saw the torn leg she gasped.
She pushed me hard and I crashed against the wall of the hut. The flimsy wall
collapsed over me. I heard my sister screaming; she denounced me in a high, wild
voice and my body ached with fear. She seized one of the saplings that held up
the hut and hit me again and again until the flesh of my back and thighs sang with
pain.

20
Then suddenly my sister moaned; she stiffened, the sapling fell from her hand and
quietly, as though a sling were lowering her, she sank to the ground. Her eyes were
wild as scud and on the edges of her lips, drawn tight over her teeth, quivered a
wide lace of froth. I ran to the house yelling for Father.

She came back from the hospital in the city, pale and quiet and mean, drained, it
seemed, of all emotions, she moved and acted with the keen, perversity and
deceptive dullness of a sheathed knife, concealing in her body that awful power for
inspiring fear and pain and hate, not always with its drawn blade but only with its
fearful shape, defined by the sheath as her meanness was defined by her body.

Nothing I did ever pleased her. She destroyed willfully anything I liked. At first, I took
it as a process of adaptation, a step of adjustment; I snatched and crushed every
seed of anger she planted in me, but later on I realized that it had become a habit
with her.

I did not say anything when she told Berto to kill my monkey because it snickered at
her one morning, while she was brushing her teeth. I did not say anything when she
told Father that she did not like my pigeon house because it stank and I had to give
away my pigeons and Berto had to chop the house into kindling wood. I learned
how to hold myself because I knew we had to put up with her whims to keep her
calm and quiet. But when she dumped my butterflies into a waste can and burned
them in the backyard, I realized that she was spiting me.

My butterflies never snickered at her and they did not smell. I kept them in an
unused cabinet in the living room and unless she opened the drawers, they were
out of her sight. And she knew too that my butterfly collection had grown with me.
But when I arrived home, one afternoon, from school, I found my butterflies in a can,
burned in their cotton beds like deckle. I wept and Father had to call my sister for an
explanation. She stood straight and calm before Father but my tear-logged eyes
saw only her harsh and arrogant silhouette. She looked at me curiously but she did
not say anything and Father began gently to question her. She listened politely and
when Father had stopped talking, she said without rush, heat or concern: “They
were attracting ants.”

I ran after Biryuk. He had fled to the brambles. I ran after him, bugling his name. I
found him under a low, shriveled bush. I called him and he only whimpered. Then I
saw that one of his eyes was bleeding. I sat on the ground and looked closer. The
eye had been pierced. The stick of my sister had stabbed the eye of my dog. I was
stunned. For a long time I sat motionless, staring at Biryuk. Then I felt hate crouch;
its paws dug hard into the floor of its cage; it bunched muscles tensed; it held itself
for a minute and then it sprang and the door of the cage crashed open and hate
clawed wildly my brain. I screamed. Biryuk, frightened, yelped and fled, rattling the
dead bush that sheltered him. I did not run after him.

A large hawk wheeled gracefully above a group of birds. It flew in a tightening spiral
above the birds.

On my way back to the house, I passed the woodshed. I saw Berto in the shade of a
tree, splitting wood. He was splitting the wood he had stacked last year. A mound of
bone-white slats was piled near his chopping block. When he saw me, he stopped
and called me.

21
His head was drenched with sweat. He brushed away the sweat and hair from his
eyes and said to me: “I’ve got something for you.” He dropped his ax and walked
into the woodshed. I followed him. Berto went to a corner of the shed. I saw a jute
sack spread on the ground. Berto stopped and picked up the sack.

“Look,” he said.

I approached. Pinned to the ground by a piece of

wood, was a big centipede. Its malignantly red body
twitched back and forth.

“It’s large,” I said.

“I found him under the stack I chopped.” Berto

smiled happily; he looked at me with his muddy eyes.

“You know,” he said. “That son of a devil nearly frightened me to death.”

I stiffened. “Did it, really?” I said trying to control my rising voice. Berto was still
grinning and I felt hot all over.

“I didn’t expect to find any centipede here,” he said. “It nearly bit me. Who
wouldn’t get shocked?” He bent and picked up a piece of wood.

“This wood was here,” he said and put down the block.

“Then I picked it up, like this. And this centipede was coiled here. Right here. I
nearly touched it with my hand. What do you think you would feel?”

I did not answer. I squatted to look at the reptile. Its antennae quivered searching
the tense afternoon air. I picked up a sliver of wood and prodded the centipede. It
uncoiled viciously. Its pinchers slashed at the tiny spear.

“I could carry it dead,” I said half-aloud.

“Yes,” Berto said. “I did not kill him because I knew you would like it.”

“Yes, you’re right.”

“That’s bigger than the one you found last year, isn’t it?”

“Yes, it’s very much bigger.”

I stuck the sliver into the carapace of the centipede. It went through the flesh under
the red armor; a whitish liquid oozed out. Then I made sure it was dead by brushing
its antennae. The centipede did not move. I wrapped it in a handkerchief. My sister
was enthroned in a large chair in the porch of the house. Her back was turned away
from the door; she sat facing the window. She was embroidering a strip of white
cloth. I went near, I stood behind her chair. She was not aware of my presence. I
unwrapped the centipede. I threw it on her lap. My sister shrieked and the strip of
white sheet flew off like an unhanded hawk. She shot up from her chair, turned
around and she saw me but she collapsed again to her chair clutching her breast,
doubled up with pain. The centipede had fallen to the floor.

22
 “You did it,” she gasped. “You tried to kill me. You’ve health… life… you
tried…” Her voice dragged off into a pain-stricken moan. I was engulfed by a
sudden feeling of pity and guilt.

“But it’s dead!” I cried kneeling before her. “It’s dead! Look! Look!” I snatched
up the centipede and crushed its head between my fingers. “It’s dead!” My sister
did not move. I held the centipede before her like a hunter displaying the tail of a
deer, save that the centipede felt thorny in my hand.

Directions: Read and identify the answer to each question. Circle the letter of your
answer.
1. Which of the following is NOT a reason why setting is vital in a short story?
a. It builds meaning to a narrative. c. It justifies the ending.
b. It connects the story’s elements. d. It helps readers visualize the story.

2. Which of the following shows the correct order of the plot of a short story?
a. exposition – falling action – denouement – rising action – climax
b. exposition - rising action – climax – falling action – denouement
c. exposition – climax – denouement – falling action rising action
d. exposition – denouement – climax – rising action – falling action

3. What is the focus of this question?

“In what period of history does the story take place?”
a. plot b. character c. setting d. theme

4. Which is not a trait of a good character?

a. relatable b. perfect c. realistic d. interesting

5. Which set of qualities should a great story have?

a. well-developed themes, engaging plots, suitable structure, memorable
characters, well-chosen settings
b. well-known characters, simple plot, complex theme, beautiful setting
c. very few characters, complicated plot, no theme, happy ending
d. perfect characters, twisting plot, obvious theme, nice setting

6. Which of the following questions may help you evaluate the plot?
a. Were you surprised by anything that happened?
b. Does the title suggest anything about the story?
c. Why does the author tell us this story?
d. Is there a clearly visible point to the story or is the meaning difficult to
discover?

7. Which of the following does NOT reveal a character’s trait?

a. actions of the character c. thoughts of the character
b. number of appearance of character d. descriptions of the character

8. Which of the following is defined as a common kind of plot that moves with the
natural sequence of events where actions are arranged sequentially?
a. circular b. flashback c. parallel d. linear

23
9. Which of the following makes the reader wonder what will happen next and if the
conflict be resolved or not?
a. rising action b. falling action c. climax d. denouement

10. Why is point of view essential in a story?

a. It keeps readers more excited.
b. It adds twist to the plot.
c. It helps the reader understand characters' feelings and actions.
d. It gives clues on what will happen next.

11. Which of the following is defined as a story with a fully developed theme but
significantly shorter and less elaborate than a novel?
a. poem b. short story c. novelette d. parable

12. Which of the following is a key consideration in evaluating the story’s plot?
a. consistency with pronoun use c. antagonist/protagonist
b. flow of events d. sensory details

13. Which of the following makes a good setting?

a. It lengthens the literary piece.
b. It connects the plot to the characters.
c. It helps the character/s solve the conflict.
d. It makes the story more fascinating.

14. Which of these is NOT a key consideration in evaluating the story’s

characterization?
a. distinguishable traits c. antagonist/protagonist
b. actions of the character d. consistency with pronoun use

15. Which of these is NOT a key consideration in evaluating the story’s setting?
a. geographical location b. weather conditions c. time d. length

When the world was shocked by a pandemic, people started welcoming the
world of online buying and selling. But, we can’t deny that there are more people
being deceived in the world of online selling. We’ve heard news about food delivery
drivers being fooled by callers whose goal is to make fun of others. Because of
these, we find it hard to trust the credibility of the online world.

To help our fellowmen be aware of the value of honesty, create a Tweet with a
hashtag(#) that will help people be more aware of certain individuals who practice
dishonesty. Write your Tweet in the box.

Scoring Rubric:
Criteria Points
Creativity 2
Relevance to the given
concern 3

Message 5
TOTAL POINTS 10

24
 25
WHAT I KNOW 3. Dialogue
1. D 4. Opinion
2. C 5. Structure
3. A
INDEPENDENT ACTIVITY 2
4. A 1. Protagonist
5. C 2. Protagonist
6. B 3. Antagonist
7. D 4. Protagonist
8. A 5. Antagonist
9. B INDEPENDENT ASSESSMENT 2
Darna
10. C
Darna is a famous Filipino superhero. She
11. C
is the main character from the comics Darna
12. D written by Mars Ravelo. She possesses superpow-
13. C ers which she used to help people. She is known
14. B for being kind and helpful. She’s willing to sacrifice
15. B her life to save other people’s lives. Aside from her
superpowers, Darna’s physical appearance also
WHAT’S IN
made her one of the famous Filipino superheroine.
Adverbs of affirmation and negation:
As the protagonist in the story, Darna
1. never
displayed unremarkable characteristics which
2. really
made her a role model of some children.
3. barely
4. hardly
Valentina
5. definitely
Valentina on the other hand, is the
Questions of reflection:
antagonist in the story Darna. She is a character
1. Being honest in everything is important because
who’s being hated by many. She also possesses
people will trust you and believe you.
superpowers like Darna. However, she uses her
2. Telling a lie can hurt other person’s feelings and
superpowers doing evil acts. Valentina is a vicious,
cause them to lose their trust in you.
selfish, and greedy woman who kills people just to
get what she wants. One of her plans is to rule the
WHAT’S NEW
world and kill Darna. Her physical appearance also
1. The characters are Cynthia, her son, her
added to her characteristics as a supervillain.
manager, the customers.
2. Cynthia is a hardworking mother and a strong
INDEPENDENT ACTIVITY 3
woman.
1. Characters
3. The problem she encountered that day was
2. Setting
delivering foods to a wrong address given by the
3. Closing
customer whose purpose is to make fun of them.
4. Characters
4. She dealt with the problem by calming herself
5. Plot
first and thinking positive.
5. The problem was solved when another customer INDEPENDENT ASSESSMENT 3
ordered the same foods Cynthia was supposed to
deliver. 1.
INDEPENDENT ACTIVITY 1 2.
1. Background
2. Thesis 3.
3. Development
4. Setting 4.
5. Suspense
INDEPENDENT ASSESSMENT 1 5.
1. Characterization
2. Conflict
 26
6. 4. B
5. A
7. 6. A
7. B
8. 8. D
9. B
9. 10. C
11. B
10. 12. B
13. B
WHAT I CAN DO 14. D
Please see page 27. 15. D
WHAT I HAVE LEARNED ADDITIONAL ACTIVITY
(Answers may vary)
I have learned that there are specific key
elements I have to consider to fully appreciate “Honesty is the best Policy.” #BeHonest
a short story.
I want to explore more about short stories and
other literary works.
ASSESSMENT
1. C
2. B
3. C
The Centipede
A critique by Jaiah Anikka A. Ignacio
Patience is a person’s ability to endure difficult circumstances and accept or tolerate delay, trouble, or
suffering without getting angry or upset. It is hard to control one’s temperament especially when triggered by
something unwanted or unexpected. Anger is one of the initial reactions or defense mechanisms of our being
human, just like a barking dog when approached by a stranger. In The Centipede, Rony V. Diaz shows that
patience has its limits though the strong characters of Eddie and Delia.
Diaz begins the story with high tension as the main character, Eddie, sees his sister beating his dog with
a stick. But because Delia has a weak heart, he stays calm and contains his anger every time she does
merciless things to his pitiful pets. The story progresses with flashbacks of how Delia had been very hard to him
which gives the idea that the two never liked each other. The flashbacks show how much Eddie likes animals
and insects, but his love for them is equal to Delia’s dislike of the things he loves. It is very clear that Eddie
understands his sister’s health issue that is why he is controlling himself from making actions which might
trigger her sickness even when she beats him. The main character’s control of his anger is not a piece of cake.
Many a time that he wants to burst out and let anger overflow from him but he just keeps himself quiet and
unresponsive. His patience is evidently long but it has an ending. This only shows that the character is realistic
making it more interesting and understandable. Delia, on the other hand, is a picture of a person abusive of her
situation. She turns her health condition into an advantage over her brother. Her character is dominating and
bossy and apathetic. The way she treats the dog and Eddie is a clear depiction of her heartlessness.
People look forward to happy ending but this one ended tragically. When the opportunity to take revenge
approaches, Eddie doesn’t wait a second. He grabs it and it’s done. The ending justifies the characters’ traits,
motives, and connection. It shows the consequence of each character’s behavior towards another.
Overall, the story made me realize the value of patience and the end of it. Controlling one’s emotion
doesn’t run too long. It has an ending and the worst thing is that you may not be ready for it. Diaz’s descriptions
of the setting, characters, and their actions were transparent to the outcome of the events. This also made me
understand more that damage cannot be undone even how much you wish you could.
 References

“Guidelines to Writing a Short Story Critique”, Last modified February 21, 2014.
https://www.montgomery.k12.ky.us/userfiles/1501/Classes/
686shortStorycritique.pdf

“Midterm Literary Analysis Papers”, Central Oregon Community College (2003).

Last Updated: 01 December 2003. http://web.cocc.edu/cagatucci/classes/
eng104/midtermexamples.htm

“Sample Critique”, Last accessed: July 29, 2020. https://www.artfuleditor.com/

sample-critique

“Short Story Analysis - Grading Rubric”, Last accessed: July 27, 2020. https://
studylib.net/doc/15468150/short-story-analysis_grading_rubric.doc

“The Centipede”, Diaz, Rony V., 1952. Last accessed: July 25, 2020. https://
www.sushidog.com/bpss/stories/centipede.htm

27
 For inquiries or feedback, please write or call:
Department of Education, Schools Division of Bulacan
Curriculum Implementation Division
Learning Resource Management and Development System (LRMDS)
Capitol Compound, Guinhawa St., City of Malolos, Bulacan
Email address: lrmdsbulacan@deped.gov.ph