WK
THE ROAD
NOT TAKEN
by Robert Frost
FORMALIST and MORALIST APPROACH
Part I and II
MELC
Critique a literary selection based on the overall
artistic value of its structure and elements (Structuralist) and human experience (Moralist Approach)
LEARNING COMPETENCIES
Analyze the structure of a given text
Identify the figures of speech used in the poem.
Point out the literary devices in the poem.
Show understanding of the message of the poem
QUARTER 3 WEEK 5 AND 6
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CRITICAL
APPROACHES
TO LITERATURE
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FORMALISM/FORMALIST APPROACH
refers to critical approaches that analyze, interpret,
or evaluate the inherent features of a text.
reduces the importance of a text’s historical, biographical, and cultural context
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MORALIST APPROACH
type of literary critique that judges the VALUE of the
literary-based on its MORAL or ETHICAL teachings
its concern is not only to discover meaning but also to determine whether works are both true and
significant
determine whether a work conveys a lesson or message
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LITER AR Y
DE VIC ES
are tools used by writers to hint at
larger themes, ideas, and meaning in
a story or piece of writing
SIMILE
two unrelated objects are being
compared to each other with the use of
the words “like” or “as.”
( indirect comparison )
Cool as Cucumber
Fight like cats and dogs
You are as brave as a lion.
The world is like your oyster.
METAPHOR
a statement in which two objects, often
unrelated, are compared to each other.
direct comparison
Laughter is the best medicine.
Time is money
No man is an island.
The world is your oyster.
IMAGERY
deepen the reader's comprehension of
what is happening and how to feel
about it.
SIGHT IMAGERY
The tree spread its gigantic,
sun-flecked shoulders.
IMAGERY
deepen the reader's comprehension of
what is happening and how to feel
about it.
SOUND IMAGERY
The forest was hushed,
resounding with echoes of the
tree’s stoic silence.
IMAGERY
deepen the reader's comprehension of
what is happening and how to feel
about it.
TOUCH IMAGERY
The tree felt smooth as
sandstone.
IMAGERY
deepen the reader's comprehension of
what is happening and how to feel
about it.
TASTE IMAGERY
The tree’s leaves tasted
bitter, like unroasted coffee
beans.
IMAGERY
deepen the reader's comprehension of
what is happening and how to feel
about it.
SMELL IMAGERY
The sweet aroma of the freshly
baked chocolate chip cookies wafted
from the kitchen to the living room
SYMBOLISM
uses symbols which can be words,
people, marks, locations, or abstract
ideas to represent something beyond
the literal meaning
hopes and dreams
SYMBOLISM
uses symbols which can be words,
people, marks, locations, or abstract
ideas to represent something beyond
the literal meaning
Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To say that for destruction ice
Is also great
And would suffice.
FIRE AND ICE by RObert Frost
PERSONIFICATION
giving human attributes to
nonhuman objects.
My alarm yelled at me this
morning.
The school bell called us
from outside.
SO U ND
DEV IC ES
are special tools the poet can use to
create certain effects in the poem to
convey and reinforce meaning
through sound
SOUND DEVICES
RHYME
matching vowel sounds Out of the night that covers me
Black as the pit from pole to pole,
at the end of words or I thank whatever gods may be
lines. For my unconquerable soul.
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SOUND DEVICES
REPETITION
repeating of any words, To the swinging and the ringing
phrases, sentences or of the bells, bells, bells-
lines within a poem Of the bells, bells, bells, bells
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SOUND DEVICES
ASSONANCE
like to decline an offer of wine
to define my style.
repetition of vowel
sounds within words Silent night, holy night, all is
calm, all is bright”
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SOUND DEVICES
ALLITERATION
repetition of the The shepherd shook his head in
negation.
consonant sounds at the
money matters
beginning of words
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SOUND DEVICES
ONOMATOPOEIA
uses words which imitate The sack fell into the river with
a splash.
the natural sounds of
The buzzing bee flew away.
things
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