1

Tabaco National High School 1. The term “utile” refers to the intellectual, emotional, and social function of any creative or
Tabaco City literary work. It helps us to better understand people, society, and culture. It can lead to
personal renewal and transformation. It can liberate our minds and can uplift our spirits. It
OVERVIEW IN LITERATURE has the power to influence perspective about the self and the world in general.

IV. Major Forms of Literature

A. Prose
I. Reasons for Reading Literature 1. Ascribed to composed freely.
A. To acquire relevant information 2. Does not have any measurement scheme for it is known to have a free flow of sentences.
B. To be entertained 3. It has greater irregularity and the language used in this form is ordinary for it has close
C. To satisfy once curiosity resemblance to man’s pattern of everyday speech.
D. to uplift cultural understanding B. Poetry
E. to escape from reality 1. It is characterized by its highly controlled manner of choosing and arranging language with
F. to fulfil one’s desires and aspirations the use of regulating devices such for sound and rhythm to aesthetically convey meaning
II. Definition of Literature which may can for specific emotional response.
A. Derived from the Latin word word litteratura which means writing, from litteratus,learning V. Genre of Literature
B. Covers both oral and written forms of works which manifest expressive or imaginative quality, A. Poetry
nobility of thoughts, timelessness, and lastly, universality. 1. Ascribed most economical means of expressions since it only uses limited number of
C. Described as for having an excellent form which the expression of permanent and universal words. Its beauty is mainly forced by the intricate and careful use of words, figurative
ideas can be established aesthetically. expression, imagery, rhythm and sound.
D. Literature takes significant human experiences as its main subject. 1.1. Key Features of Poetry
E. Discusses various dimensions of life as well as its miseries and glories. a. Structure (arrangement of lines and stanzas), (Haiku, balled, sonnet)
III. Key Features of Literature b. Language (connotations, concrete words, figurative languages)
A. Literature is a form of Communication c. Tone, Sound, Rhythm
1. Man’s inner thoughts, feelings and conditions can be disclosed through literature. It d. Emotional Appeal (words, ideas and constructs bear meaning beyond the literal
engages us to share and impart a portion of ourselves which may be interesting and or ordinary sense)
benefiting to other people. 1.2. Essential Composites of Poetry
B. Literature is an art. a. Sense (diction/word choice, imagery, figurative languages, and symbols)
1. Literature takes an excellent form. Its beauty is a deliberate manifestation of the mind’s b. Sound (tonal patterns, rhythm, and measurement) (rhyming scheme and
ability to create and imagine. It is an artistic expression of the man’s desires, aspirations, repetitions)
and conditions. c. Structure (the way how words and lines are organized, sequenced, or arranged
C. Nobility of Thoughts and formed to ensure unity of the form)
1. Literature deals with ideas of great importance and significance that can lead to new 1.3. Different Poetic Forms
responses to the world and can move people to achieve great discoveries of the dimensions a. Dramatic Poetry (exhibits dialogue and characterization which are known to be
of human life and experience. elements of drama)
D. Timelessness a.1. Monologue (delivered by an individual in a dramatic performance)
1. The significant truth about life that a literary work reveal should not wane and dissipate as a.2. Soliloquy (revelations of the character’s personal thoughts,
time passes by. It must have an enduring quality in which its beauty as well as its emotions, and feelings.)
applicability can withstand the change of time. b. Lyric Poetry (mainly discloses feelings and emotions which can be perceived to
E. Universality be subjective and personal)
1. A work must have global applicability in which a work transcends across space. b.1. simple lyric (pastoral)
F. Literature has Utility b.2. songs (emotional verses)
b.3. odes (extended lyric poems)

1|Literature Overview prepared by Darwin P. Malague ño

 2

b.4. sonnets (lyrics of 14 lines, iambic (unstressed/stressed syllables – b.5. elegy (laments the death of a person of group of individuals)
heartbeat), pentameter (five iambs to a line) c. Narrative Poetry (author’s narrative story)
b.4.a. English/Shakespearian (abab cdcd efef gg) c.1. epics
- Unlike the Italian sonnet, the English sonnet breaks c.1.a. Characteristics of the Epic
into 3 quatrains and an ending couplet. The rhyme c.1.a.1. Epic Simile
scheme is: abab cdcd efef gg. This rhyme scheme is c.1.a.2. Homeric Simile
c.1.a.3 Language (verbose, grandiose)
more suited to the English language where it is harder
c.1.a.4. Celebrates three things: 1.) the origin of
to find enough words to rhyme is following the abba
civilization, 2.) religious beliefs, 3.) celebrates the
abba scheme of the Italian sonnet. Each quatrain needs of the society for progress
expresses a thought, oftentimes building in intensity c.1.b. Classification of the Epic
to the couplet. Other times, the quatrains are parallel c.1.b.1. Folk Epic
– using different metaphors to express the poet’s - Authorship and Ownership is Communal
concern. Like the Italian sonnet, the English sonnet - The medium of transmission is in oral or
verbal form
usually poses a problem or question. The volta in the
c.1.b.2. Literary Epic
English sonnet can be at line 9, as in the Italian sonnet, - Authorship and ownership is known
or it can come at the couplet - The medium of transmission or diffusion is
through written form
b.4.b. Spenserian – (abab bcbc cdcd ee) c.1.c. Conventions of the Epics
- Developed by Edmund Spencer, this follows the
quatrain/couplet division of the English sonnet, but OTHER RELATED CONVENTIONS:
with overlapping rhymes: abab bcbc cdcd ee. Usually, c.1.c.10) The hero faces an epic battle
Spenser’s volta is at the couplet. c.1.c.11) The epic hero is from noble birth
c.1.c.12) There is an existing epic battle
b.4.c. Italian/Petrarchan- (abba abba c.1.c.13) Contains epic boasting
-dcdcd/cddcdc/cdecde/cdeced/cdcedc) c.1.c.14) The epic hero is larger than life (possesses
divine power or extraordinary); character is composed
- The first eight lines, called the octave, generally of mortal and divine being.
follows the rhyme scheme: abba abba. The second is c.1.c.15) Epic contains epithets, dactylic hexameter
formed by the last six lines, the sestet, usually has (Homeric epics) and iambic pentameter (Shakespeare)
more flexibility in rhyme schemes, though the most c.1.c.16) Towards the end of the epic is the statement
common ones are: cdcdcd; cddcdc; cdecde; cdeced; or of the theme sung by the bard.
cdcedc. Very rarely does the Italian sonnet end in a c.2. metrical tales (relays a story in several verses)
couplet (as do English sonnets): ee. c.3. romances
- second half of the Italian sonnet indicates a turn in c.4. ballads
the sonnet – change of subject, an expression of 2. Considerations in Analyzing a Poem
enlightenment, etc. We call this a volta. The octave a. Author (life experiences, writing styles, type of works)
often forms a question or presents a problem that the b. The title of the poem (gist)
poet is seeking greater insight to. The volta is his c. The persona or the Addressee (speaker and receiver)
attempt to answer. This turn is what gives the sonnet d. Tone, Attitude, Motifs, and Conditions
form it’s more philosophical bent e. Imagery and Symbolism
f. Genre
2|Literature Overview prepared by Darwin P. Malague ño
 3

g. Structure (regular/ irregular, rhyming scheme and sound devices) 1.3.f. dramatic unities (Limiting the time, place, and action of a play to a single
h. The Theme (significant truth or central idea) spot and a single action over the period of 24 hours)
i. Appeal (impression, personal judgement and evaluation, aesthetic quality, 1.3.g. hamartia (character flaw or error of a tragic hero that leads to his downfall)
intellectual and emotional value) 1.3.h. pantomime (a performance using gestures and body movements without
words)
B. Prose Fiction 1.3.i. peripeteia (sudden and unexpected change of fortune or reverse of
1. Any literary work that is imaginative recreation and reconstruction of life which may circumstances)
include short stories and novels in which manifestations of the creative and imaginative 1.4. Types of Theater
thinking of a particular writer. It recounts the flow and development of actions and events 1.4.a. Arena (he central area of an ancient Roman amphitheater where contests
involving an identified number of characters who deal and react to certain conflicts and and spectacles were held)
human experiences. 1.4.b. Medieval Theater
C. Drama 1.4.c. Elizabethan Theater
1. These are stories involving significant human encounters which are intended to be 1.4.d. Proscenium (the part of a modern theater stage between the curtain and the
performed on stage. It involves certain characters who also deal with some complications orchestra)
or issues. It presents fictional and imaginative events presented or portrayed by actors and 1.4.e. Theater of Cruelty
actresses before and audience. 1.4.f. Eclectic Theater
1.1. Genres of Drama D. Non-Fiction Prose
1.1.a. Tragedy (serious dramatic atmosphere) 1. It mainly attempts to present, to interpret, or to describe facts.
1.1.b. Comedy (intended to amuse the viewing crowd)
1.1.c. Tragicomedy (combines conventions of tragic and comic elements) F. Fiction (purely product of writer’s imagination)
1.1.d. Closet Drama (intended to be read, not performed on stage) 1. Major Forms of Fiction
1.1.e. Farce (characters and setting are mainly exaggerated) a. Short Story
1.1.f. Melodrama (accompanied with music and song set in different pace) a.1. can be read in one sitting
1.1.g. Morality/Mystery Play (medieval play which is mainly allegorical; highlights a.2. few characters
the conflict of the human soul) a.3. singular complication
1.1.h. Miracle Play (stories were from the bible or the lives of saints) b.4. ascribed to be thematic
1.2. Elements of Drama b. Novella
1.2.a. Setting (stage design) b.1. shorter version of novel
1.2.b. Characters (main characters, chorus) b.2. comes with short story and novel
1.2.c. Plot (action or drama; the plot greatly lies on the conflict of the characters) b.3. shorter than novel and longer that short story
1.2.d. Dialogue (Aside-short speech of character which is directly addressed to the c. Novel
audience; soliloquy- is a speech of the character to reveal the character’s c.1. long prose narrative
emotions, conflicts, further actions, or themes) c.2. has series of episodes and is known to be very complex.
1.2.e. Movements (pacing and transition of acts) 2. Requisite composite of Fiction
1.2.f. Music (background used to establish a dramatic effect) a. Form (how certain work is written and done)
1.2.g. Theme ((tells what the play is about or the message the play attempts to b. Theme (idea and meaning that a literary work attempts to convey an to
reveal.) communicate.)
1.3. Terminologies in Drama 3. Elements of Fiction
1.3.a. Act (A major division in a play. An act can be sub-divided into scenes) a. Setting (place and time, social norms, traditions, social set-up, and political
1.3.b. Catharsis (the purging of feelings of pity and fear) atmosphere).
1.3.c. dues ex machine (means a god from the machine) b. Characters
1.3.d. dramatis personae (actors in a play) b.1. Types of Characters
b.1.1. Protagonist (lead/principal character; referred to as “hero”)
3|Literature Overview prepared by Darwin P. Malague ño
 4

b.1.2. Antagonist (known as villain; the role is to challenge the main e. Conflict (opposition of forces which set the problems, issues, and challenges of
character) various forms and sources that the main character must face or deal with)
b.1.3. Static/Flat Character (qualities and characteristics remain as is) e.1. man vs. himself
b.1.4. Dynamic Character (undergoes significant changes in personality, e.2. man vs. man
behaviour, or perspective as the story develops) e.3. man vs. society
b.1.5. Round Character (known as complex and multidimensional; lifelike e.4. man vs. culture
character which people can relate to) e.5. man vs. nature
b.1.6. Antihero (does not adhere to stereotypical qualities inherent to a f. Symbols (object which represent ideas aside from its literal meaning)
hero; graceless, dishonest, and stupid) g. Theme (significant truth about life which the story attempts to communicate to its
b.1.7. Foil (used to stand in contrast to another character) readers; idea, realization, reflection, or simply the lesson)
c. Plot (flow and sequence of events; show the causal relationship between and 4. Other Important Concepts in Fiction
among events) a. Allusion (implicit or indirect reference to a person, event, or literary work)
c.1. Plot Patters and Techniques b. Atmosphere (tone and mood perceived; established by the environment or
c.1.1. en medias res (in the middle of the action) landscape used in the work)
c.1.2. Flashback (the inclusion of episodes or prior events to the base c. Dialogue (conversation or exchanges between and among individuals)
time of the plot) d. Genre (classification or categories in which literary works are identified and
c.1.3. Prolepsis or Flash-Forward (provision of a quick look or glimpse grouped in accordance with the conventions and content)
into what may transpire in the future) e. Irony (difference between what is said and what is shown, e.g. reality vs.
c.1.4. Foreshadowing (provide clues or hints as to some events or appearance, expectation and result, meaning and intention)
circumstances that may come soon in the flow of the story) f. Local Color (presents local or regional symbols and images including speech,
c.1.5. Frame Story (having separate narration found within a story, story practices, beliefs, mannerisms, and the like peculiar to a certain topography)
within the story) g. Satire (usually humorous; criticizes the weakness of people, vices, perspectives, or
c.2. Composites of Plot even institutions to bring about some improvement or social reforms.
c.2.1. Exposition (The first stage of a fictional or dramatic plot, in which h. Sci-Fi (imaginary events that mainly include science and technology)
necessary background information is provided) i. Stream of Consciousness (attempts to show the random flow of thoughts,
c.2.2. rising action (An event, conflict or crisis or set of conflicts and crises memories, emotions, and associations as these moves within the character’s min)
that constitute the part of a play's plot leading up to the climax.) VI. Literary Periods
c.2.3. climax (The turning point of the action in the plot of a play and the
point of greatest tension in the work)
c.2.4. falling action (This is when the events and complications begin to
resolve themselves and tension is released. We learn whether the conflict has or
been resolved or not)
c.2.5. denouement/resolution (Literally the action of untying. A
denouement (or resolution) is the outcome of the main complication in a play)
d. Point of View (vantage point as to how the story unfolds)
d.1. Kinds of Point of View
d.1.1. Participant Narrator/ First person (marked by the use of “I”;
perceived by one character; more personal)
d.1.2. Second Person (emphasizes “you” perspective in which the person
or entity is being directly addressed)
d.1.3. Non-Participant/ Third Person (seemingly not part of the story;
omniscient point of view has access to the minds of the characters and
knows the entirety of the circumstances in the story)

4|Literature Overview prepared by Darwin P. Malague ño