dll-eapp-13.pdf

DAILY LESSON LOG
SENIOR HIGH
SCHOOL
School Caraga National High School Grade Level & Quarter Grade 11
1st
Semester/1st
Quarter
Teacher JEMAR M. BANDAJA SHS Track GAS, TVL, STEM
Week No.
Inclusive Dates
Week 13
19-22 AUGUST 2019
Learning Area English for Academic and Professional
Purposes
Scheduled Time 7:30am -8:30am/ 9:45am-
10:45am/10:45am 11:45am
Topic Reading Academic Text
MONDAY TUESDAY (continuation) WEDNESDAY (continuation) THURSDAY(continuation)
A. Content: Writing Concept Paper
Content Standard: Understands the
principles and uses of concept paper
Performance Standard: Produces a well-
balanced concept paper in a specific discipline
Curriculum Guide Page No. 4 of 6
Content Standard: Understands the principles
and uses of concept paper
Performance Standard: Produces a well-
balanced concept paper in a specific discipline
Content Standard: Understands the principles and
uses of concept paper
Performance Standard: Produces a well-balanced
concept paper in a specific discipline
Content Standard: Understands the principles and
uses of concept paper
Performance Standard: Produces a well-balanced
concept paper in a specific discipline
B. Learning Competencies/Objectives:
At the end of sixty minute period, the
learner are able to:
 Explains and clarifies concepts in
fields such as:
a. Art
b. Business
c. Law
d. Philosophy
e. Politics
f. Religion
g. Science
h. Sports
i. TechVoc
-Home Economics
- Agri. Fishery
-I.A
-ICT
Curriculum Guide Page No: 4 of 6
At the end of sixty minute period, the
learner are able to:
 Explains and clarifies concepts in
fields such as:
a. Art
b. Business
c. Law
d. Philosophy
e. Politics
f. Religion
g. Science
h. Sports
i. TechVoc
-Home Economics
- Agri. Fishery
-I.A
-ICT
At the end of sixty minute period, the learner
are able to:
 Explains and clarifies concepts in fields
such as:
a. Art
b. Business
c. Law
d. Philosophy
e. Politics
f. Religion
g. Science
h. Sports
i. TechVoc
-Home Economics
- Agri. Fishery
-I.A
-ICT
At the end of sixty minute period, the learner
are able to:
 Explains and clarifies concepts in fields
such as:
a. Art
b. Business
c. Law
d. Philosophy
e. Politics
f. Religion
g. Science
h. Sports
i. TechVoc
-Home Economics
- Agri. Fishery
-I.A
-ICT
C. Subject Matter:
 Reading the Text and Reacting to
It
C. Subject Matter:
 Reading the Text and Reacting to It
C. Subject Matter:
C. Subject Matter:

Make the student’s realize that after a first
reading of the poem, it is imperative to
know the poet behind the creative and
environmental perceptive.
1. Appreciate the Poet’s Role. Share a
brief background about the colorful life of
Wen-i-to/Wen Yi-duo:2
“On June 6, 1946, at 5pm, after
stepping out of the office of the
Democratic Weekly, Wen Yiduo died in a
hail of bullets. Mao blamed the
Nationalists and transformed Wen into a
paragon of the revolution.
Wen had received a classical
education. But he came of age as old
imperial China and its institutions were
being swept away, and the Chinese people
were looking ahead to a new China. It was
fertile ground for a young poet.
In 1922, Wen studied art and
literature at the Art Institute of Chicago.
There he published his first collection of
poetry, Hongzu or Red Candle. Returning
to China in 1925, he became a university
professor, active in the political and
aesthetic debates of the time. His
published his second collection of poems,
Sishui, or Dead Water, in 1928.
As political trends shifted from an
intellectual, elitist base toward a populist
one, Wen was one of the leaders of a
movement to reform Chinese poetry, from
a classical style and diction far removed
from everyday usage, to adapting
common speech and direct observation,
while maintaining a strict, albeit new,
formalism.
reading of the poem, it is imperative to
know the poet behind the creative and
1. Appreciate the Poet’s Role. Share a brief
background about the colorful life of Wen-
i-to/Wen Yi-duo:2
“On June 6, 1946, at 5pm, after
stepping out of the office of the Democratic
Weekly, Wen Yiduo died in a hail of bullets.
Mao blamed the Nationalists and
transformed Wen into a paragon of the
revolution.
Wen had received a classical
education. But he came of age as old
imperial China and its institutions were
being swept away, and the Chinese people
were looking ahead to a new China. It was
fertile ground for a young poet.
In 1922, Wen studied art and
literature at the Art Institute of Chicago.
There he published his first collection of
poetry, Hongzu or Red Candle. Returning to
China in 1925, he became a university
professor, active in the political and
aesthetic debates of the time. His published
his second collection of poems, Sishui, or
Dead Water, in 1928.
intellectual, elitist base toward a populist
one, Wen was one of the leaders of a
movement to reform Chinese poetry, from
a classical style and diction far removed
from everyday usage, to adapting common
speech and direct observation, while
maintaining a strict, albeit new, formalism.
However, Wen never resolved the
conflicts that existed within him: The elitist
reading of the poem, it is imperative to know
the poet behind the creative and
background about the colorful life of Wen-i-
to/Wen Yi-duo:2
“On June 6, 1946, at 5pm, after stepping
out of the office of the Democratic Weekly,
Wen Yiduo died in a hail of bullets. Mao
blamed the Nationalists and transformed Wen
into a paragon of the revolution.
Wen had received a classical education.
But he came of age as old imperial China and
its institutions were being swept away, and
the Chinese people were looking ahead to a
new China. It was fertile ground for a young
poet.
In 1922, Wen studied art and literature at
the Art Institute of Chicago. There he
published his first collection of poetry, Hongzu
or Red Candle. Returning to China in 1925, he
became a university professor, active in the
political and aesthetic debates of the time. His
intellectual, elitist base toward a populist one,
Wen was one of the leaders of a movement to
reform Chinese poetry, from a classical style
and diction far removed from everyday usage,
to adapting common speech and direct
observation, while maintaining a strict, albeit
new, formalism.
and the proletarian, the scholar and the
activist, the traditionalist and the innovator,
reading of the poem, it is imperative to know
the poet behind the creative and
background about the colorful life of Wen-i-
to/Wen Yi-duo:2
“On June 6, 1946, at 5pm, after stepping
out of the office of the Democratic Weekly,
Wen Yiduo died in a hail of bullets. Mao
blamed the Nationalists and transformed Wen
into a paragon of the revolution.
Wen had received a classical education.
But he came of age as old imperial China and
its institutions were being swept away, and
the Chinese people were looking ahead to a
new China. It was fertile ground for a young
poet.
In 1922, Wen studied art and literature at
the Art Institute of Chicago. There he
published his first collection of poetry, Hongzu
or Red Candle. Returning to China in 1925, he
became a university professor, active in the
political and aesthetic debates of the time. His
intellectual, elitist base toward a populist one,
Wen was one of the leaders of a movement to
reform Chinese poetry, from a classical style
and diction far removed from everyday usage,
to adapting common speech and direct
observation, while maintaining a strict, albeit
new, formalism.
activist, the traditionalist and the innovator,

activist, the traditionalist and the
innovator, the personal man and the
public man, fought for ascendancy. Yet it
was these contradictions that proved so
fruitful and give his poetry its singular
power.”
2. Unlocking Verbal difficulties. Make the
students realize that before they can
understand the poem and interpret its
meaning well, they have to know the
meanings of these expressions used:
a. Raise a single ripple
b. Silky gauze
c. Colorful spume
d. Ferment into jade wine
e. White scum
3. Comprehending the Text. Use these
questions to guide the students in
understanding the literal meaning of the
poem:
a. Stanza 1- When is water
“hopelessly dead?”
b. Stanza 1- Why cannot a breeze
“raise a single ripple on it?”
c. Stanza 2- Can the green on
rubbish copper become emeralds? Can
peach blossoms sprout from thrown away
tin cans? Can grease cover the surface
with “silky gauze?” Can germs produce
colorful foam on this water? In what ways
can these “emeralds, “peach blossoms,”
“silky gauze,” and “colorful spume” come
out of the stagnant water?
d. Stanza 3 – Again, can dead water
be fermented into wine? When can white
activist, the traditionalist and the
innovator, the personal man and the public
man, fought for ascendancy. Yet it was
these contradictions that proved so fruitful
and give his poetry its singular power.”
b. Silky gauze
c. Colorful spume
e. White scum
poem:
a. Stanza 1- When is water
“hopelessly dead?”
b. Stanza 1- Why cannot a breeze
“raise a single ripple on it?”
c. Stanza 2- Can the green on rubbish
copper become emeralds? Can peach
blossoms sprout from thrown away tin
cans? Can grease cover the surface with
“silky gauze?” Can germs produce colorful
foam on this water? In what ways can
these “emeralds, “peach blossoms,” “silky
gauze,” and “colorful spume” come out of
the stagnant water?
d. Stanza 3 – Again, can dead water
be fermented into wine? When can white
scum be viewed as floating pearls? When
do pearls chuckle and become big pearls,
then turn into gnats? In what ways would
the personal man and the public man, fought
for ascendancy. Yet it was these contradictions
that proved so fruitful and give his poetry its
singular power.”
b. Silky gauze
c. Colorful spume
e. White scum
poem:
a. Stanza 1- When is water “hopelessly
dead?”
b. Stanza 1- Why cannot a breeze “raise
a single ripple on it?”
blossoms sprout from thrown away tin cans?
Can grease cover the surface with “silky
gauze?” Can germs produce colorful foam on
this water? In what ways can these “emeralds,
“peach blossoms,” “silky gauze,” and “colorful
spume” come out of the stagnant water?
d. Stanza 3 – Again, can dead water be
fermented into wine? When can white scum
be viewed as floating pearls? When do pearls
chuckle and become big pearls, then turn into
gnats? In what ways would these gnats steal
the rum?
e. Stanza 4- In what way can one see
the personal man and the public man, fought
for ascendancy. Yet it was these contradictions
that proved so fruitful and give his poetry its
singular power.”
b. Silky gauze
c. Colorful spume
e. White scum
poem:
a. Stanza 1- When is water “hopelessly
dead?”
b. Stanza 1- Why cannot a breeze “raise
a single ripple on it?”
blossoms sprout from thrown away tin cans?
Can grease cover the surface with “silky
gauze?” Can germs produce colorful foam on
this water? In what ways can these “emeralds,
“peach blossoms,” “silky gauze,” and “colorful
spume” come out of the stagnant water?
d. Stanza 3 – Again, can dead water be
fermented into wine? When can white scum
be viewed as floating pearls? When do pearls
chuckle and become big pearls, then turn into
gnats? In what ways would these gnats steal
the rum?

scum be viewed as floating pearls? When
do pearls chuckle and become big pearls,
then turn into gnats? In what ways would
these gnats steal the rum?
e. Stanza 4- In what way can one
see that the “hopelessly dead water” may
have a bright touch? Why would the frogs
croak in delight “when they cannot bear
the silence?”
f. Stanza 5 – In a seeming
contradiction of early assertions that
pearls, peach blossoms, colorful spume,
etc. all beautiful images, can spring from
the dead water, why does the last stanza
say that nothing beautiful can live in the
dead water? What frame of mind is
revealed when one leaves it to the devil to
cultivate the dead water? What may come
out of the dead water if the devil
“cultivates” it?
4. Interpreting the text. To make the
students move beyond the literal reading
of the text, ask them these guide
questions:
a. What does a hopelessly dead
water stand for?
b. If the breeze cannot even move
the water to produce a ripple, why would
one add to the pollution by throwing in
rusty scraps and left over food and soup?
What does such an action signify?
c. From your science, you learn
that the green on copper is more of blue-
green layer of corrosion that develops on
the surface of copper when exposed to
sulfur and oxide compounds; that the oily
film floating on water may be caused by
decomposition of grease; that the colorful
these gnats steal the rum?
that the “hopelessly dead water” may have
a bright touch? Why would the frogs croak
in delight “when they cannot bear the
silence?”
f. Stanza 5 – In a seeming
contradiction of early assertions that
pearls, peach blossoms, colorful spume,
etc. all beautiful images, can spring from
the dead water, why does the last stanza
say that nothing beautiful can live in the
dead water? What frame of mind is
revealed when one leaves it to the devil to
cultivate the dead water? What may come
out of the dead water if the devil
4. Interpreting the text. To make the
students move beyond the literal reading of
the text, ask them these guide questions:
a. What does a hopelessly dead
water stand for?
b. If the breeze cannot even move
the water to produce a ripple, why would
one add to the pollution by throwing in
rusty scraps and left over food and soup?
What does such an action signify?
c. From your science, you learn that
the green on copper is more of blue-green
layer of corrosion that develops on the
surface of copper when exposed to sulfur
and oxide compounds; that the oily film
floating on water may be caused by
decomposition of grease; that the colorful
foam or water may be caused by
cyanobacteria with harmful cyanotoxins.
Why does the poet “romanticize” versions
of these effects of corrosion,
that the “hopelessly dead water” may have a
bright touch? Why would the frogs croak in
delight “when they cannot bear the silence?”
f. Stanza 5 – In a seeming contradiction
of early assertions that pearls, peach
blossoms, colorful spume, etc. all beautiful
images, can spring from the dead water, why
does the last stanza say that nothing beautiful
can live in the dead water? What frame of
mind is revealed when one leaves it to the
devil to cultivate the dead water? What may
come out of the dead water if the devil
4. Interpreting the text. To make the students
move beyond the literal reading of the text,
ask them these guide questions:
a. What does a hopelessly dead water
stand for?
b. If the breeze cannot even move the
water to produce a ripple, why would one add
to the pollution by throwing in rusty scraps
and left over food and soup? What does such
an action signify?
c. From your science, you learn that the
green on copper is more of blue-green layer of
corrosion that develops on the surface of
copper when exposed to sulfur and oxide
compounds; that the oily film floating on
water may be caused by decomposition of
grease; that the colorful foam or water may be
caused by cyanobacteria with harmful
cyanotoxins. Why does the poet “romanticize”
versions of these effects of corrosion,
decomposition, and toxicity as “emeralds, silky
gauze, or colorful spume?”
d. What tone does the poet use,
especially in Stanza 3, when he gives in to
fermenting the water into jade wine, etc.? Can
that the “hopelessly dead water” may have a
bright touch? Why would the frogs croak in
delight “when they cannot bear the silence?”
f. Stanza 5 – In a seeming contradiction
of early assertions that pearls, peach
blossoms, colorful spume, etc. all beautiful
images, can spring from the dead water, why
does the last stanza say that nothing beautiful
can live in the dead water? What frame of
mind is revealed when one leaves it to the
devil to cultivate the dead water? What may
come out of the dead water if the devil
4. Interpreting the text. To make the students
move beyond the literal reading of the text,
ask them these guide questions:
a. What does a hopelessly dead water
stand for?
b. If the breeze cannot even move the
water to produce a ripple, why would one add
to the pollution by throwing in rusty scraps
and left over food and soup? What does such
an action signify?
c. From your science, you learn that the
green on copper is more of blue-green layer of
corrosion that develops on the surface of
copper when exposed to sulfur and oxide
compounds; that the oily film floating on
water may be caused by decomposition of
grease; that the colorful foam or water may be
caused by cyanobacteria with harmful
cyanotoxins. Why does the poet “romanticize”
versions of these effects of corrosion,
decomposition, and toxicity as “emeralds, silky
gauze, or colorful spume?”
fermenting the water into jade wine, etc.? Can

foam or water may be caused by
cyanobacteria with harmful cyanotoxins.
Why does the poet “romanticize” versions
of these effects of corrosion,
decomposition, and toxicity as “emeralds,
silky gauze, or colorful spume?”
fermenting the water into jade wine, etc.?
Can water be fermented? Why would that
fermented water be “jade wine?”
e. What do the small pearls stand for?
What does their chuckling mean? And
how can their chuckling turn them into big
pearls? Moreover, how do they burst as
gnats that steal the drink?
f. As though the persona relents a
little about the hopelessly dead water,
he/she allows it a “touch of something
bright.” To what would this bright touch
refer? In what way would the frogs no
longer able “to bear the silence?’” Why
would the dead water (not the frogs)
sing/croak its “song of delight?”
g. In the last stanza, what do the last
two lines signify, considering that the
water is hopelessly dead and unable to
contain any form of beauty? On what note
does the poem end then?
Reminders:
 The persona in a poem is the role
or character adopted by the
author to speak or act in the text.
decomposition, and toxicity as “emeralds,
silky gauze, or colorful spume?”
fermenting the water into jade wine, etc.?
Can water be fermented? Why would that
What does their chuckling mean? And how
can their chuckling turn them into big
pearls? Moreover, how do they burst as
gnats that steal the drink?
f. As though the persona relents a little
about the hopelessly dead water, he/she
allows it a “touch of something bright.” To
what would this bright touch refer? In what
way would the frogs no longer able “to
bear the silence?’” Why would the dead
water (not the frogs) sing/croak its “song of
delight?”
two lines signify, considering that the water
is hopelessly dead and unable to contain
any form of beauty? On what note does the
poem end then?
Reminders:
 The persona in a poem is the role
or character adopted by the author
to speak or act in the text.
 Tone in poetry or prose refers to
the writer's attitude toward the
subject or audience. It may be
admiring, afraid, aggravated,
water be fermented? Why would that
can their chuckling turn them into big pearls?
Moreover, how do they burst as gnats that
steal the drink?
way would the frogs no longer able “to bear
the silence?’” Why would the dead water (not
the frogs) sing/croak its “song of delight?”
two lines signify, considering that the water is
hopelessly dead and unable to contain any
form of beauty? On what note does the poem
end then?
Reminders:
 The persona in a poem is the role or
character adopted by the author to
speak or act in the text.
 Tone in poetry or prose refers to the
writer's attitude toward the subject or
audience. It may be admiring, afraid,
aggravated, aggressive, agitated,
angry, apathetic, apologetic, sarcastic,
and sardonic. It is the emotional
coloring of the poem.
5. Critical Reading of the Text
Remind the students of the brief background
water be fermented? Why would that
can their chuckling turn them into big pearls?
Moreover, how do they burst as gnats that
steal the drink?
way would the frogs no longer able “to bear
the silence?’” Why would the dead water (not
the frogs) sing/croak its “song of delight?”
two lines signify, considering that the water is
hopelessly dead and unable to contain any
form of beauty? On what note does the poem
end then?
Reminders:
 The persona in a poem is the role or
character adopted by the author to
speak or act in the text.
 Tone in poetry or prose refers to the
writer's attitude toward the subject or
audience. It may be admiring, afraid,
aggravated, aggressive, agitated,
angry, apathetic, apologetic, sarcastic,
Remind the students of the brief background

 Tone in poetry or prose refers to
the writer's attitude toward the
subject or audience. It may be
admiring, afraid, aggravated,
aggressive, agitated, angry,
apathetic, apologetic, sarcastic,
Remind the students of the brief
background on the writer. That he was
killed for his writings means that his socio-
political background calls for a reading
beyond an environmentalist’s concern.
Ask them to examine the two
interpretations below and explain which
they would agree with, or which parts
they would disagree with, and why:
a. In “Dead Water” Wen Yiduo
made claims to the past. With
the passage of time the
consolidation of the Qing rule
and censorship determined
how the fall of the Ming
dynasty was remembered,
imagined and represented,
Yiduo represented the poets of
this era as they tried to base
their poetry on past models
and make them meaningful for
the present generation. The
dead water was symbolic of
the state of China. The people
were desperate and hopeless.
Realizing the lack of new ideas,
the narrator stated “Here is a
aggressive, agitated, angry,
apathetic, apologetic, sarcastic, and
sardonic. It is the emotional
Remind the students of the brief
background on the writer. That he was
killed for his writings means that his socio-
political background calls for a reading
beyond an environmentalist’s concern. Ask
them to examine the two interpretations
below and explain which they would agree
with, or which parts they would disagree
with, and why:
d. In “Dead Water” Wen Yiduo
made claims to the past. With
the passage of time the
consolidation of the Qing rule
and censorship determined how
the fall of the Ming dynasty was
remembered, imagined and
represented, Yiduo represented
the poets of this era as they
tried to base their poetry on
past models and make them
meaningful for the present
generation. The dead water was
symbolic of the state of China.
The people were desperate and
hopeless.
Realizing the lack of new ideas,
the narrator stated “Here is a
ditch of hopelessly dead water /
No breeze can raise a single
ripple on it / Might as well
throw in rusty metal scraps / or
on the writer. That he was killed for his
writings means that his socio-political
background calls for a reading beyond an
environmentalist’s concern. Ask them to
examine the two interpretations below and
explain which they would agree with, or which
parts they would disagree with, and why:
g. In “Dead Water” Wen Yiduo made
claims to the past. With the
passage of time the consolidation
of the Qing rule and censorship
determined how the fall of the
Ming dynasty was remembered,
imagined and represented, Yiduo
represented the poets of this era as
they tried to base their poetry on
symbolic of the state of China. The
people were desperate and
hopeless.
Realizing the lack of new ideas, the
narrator stated “Here is a ditch of
hopelessly dead water / No breeze
can raise a single ripple on it /
Might as well throw in rusty metal
scraps / or even pour left-over food
and soup in it” (ll. 1-4).This stanza
makes a powerful statement on
the times of China. A ray of hope
had sparked the era, the narrator
explains to the reader “this ditch of
hopelessly dead water / may still
claim a touch of something bright /
[and] the dead water will croak its
song of delight” (ll. 13-14, 15).
on the writer. That he was killed for his
writings means that his socio-political
background calls for a reading beyond an
environmentalist’s concern. Ask them to
examine the two interpretations below and
explain which they would agree with, or which
parts they would disagree with, and why:
j. In “Dead Water” Wen Yiduo made
claims to the past. With the
passage of time the consolidation
of the Qing rule and censorship
determined how the fall of the
Ming dynasty was remembered,
imagined and represented, Yiduo
represented the poets of this era as
they tried to base their poetry on
symbolic of the state of China. The
people were desperate and
hopeless.
Realizing the lack of new ideas, the
narrator stated “Here is a ditch of
hopelessly dead water / No breeze
can raise a single ripple on it /
Might as well throw in rusty metal
scraps / or even pour left-over food
and soup in it” (ll. 1-4).This stanza
makes a powerful statement on the
times of China. A ray of hope had
sparked the era, the narrator
explains to the reader “this ditch of
hopelessly dead water / may still
claim a touch of something bright /
[and] the dead water will croak its
song of delight” (ll. 13-14, 15).

ditch of hopelessly dead
water / No breeze can raise a
single ripple on it / Might as
well throw in rusty metal
scraps / or even pour left-over
food and soup in it” (ll. 1-
4).This stanza makes a
powerful statement on the
times of China. A ray of hope
had sparked the era, the
narrator explains to the reader
“this ditch of hopelessly dead
water / may still claim a touch
of something bright / [and] the
dead water will croak its song
of delight” (ll. 13-14, 15).
Poetically, the poem displayed
a duality of what was
potentially dead could have life
and could potentially live
again. The poem appeals to
the use of nature and natural
elements to symbolically
stimulate the reader. Despite
the narrator’s losing hope in
the last stanza, the reader is
stimulated to believe that a
new era is approaching and a
new social state is on the verge
of beginning.
b. “Stagnant water”. The "dead
water" symbols, irony , and
other artistic techniques refer
to The Northern Warlords, the
dark rule, the performance of
the author, and the
government's determination
opposed to darkness.
even pour left-over food and
soup in it” (ll. 1-4).This stanza
makes a powerful statement on
the times of China. A ray of
hope had sparked the era, the
narrator explains to the reader
“this ditch of hopelessly dead
water / may still claim a touch
of something bright / [and] the
dead water will croak its song of
delight” (ll. 13-14, 15).
Poetically, the poem displayed a
duality of what was potentially
dead could have life and could
potentially live again. The poem
appeals to the use of nature and
natural elements to symbolically
stimulate the reader. Despite
the narrator’s losing hope in the
last stanza, the reader is
stimulated to believe that a new
era is approaching and a new
social state is on the verge of
beginning.
e. “Stagnant water”. The "dead
water" symbols, irony , and
other artistic techniques refer to
The Northern Warlords, the
dark rule, the performance of
the author, and the
government's determination
The poem of five sections can be
divided into three parts. the first
part (Section 1) the "dead"
water, refers to the old China
and the emotions of the reality
stimulate the reader. Despite the
narrator’s losing hope in the last
stanza, the reader is stimulated to
believe that a new era is
approaching and a new social state
is on the verge of beginning.
h. “Stagnant water”. The "dead
water" symbols, irony , and other
artistic techniques refer to The
Northern Warlords, the dark rule,
the performance of the author, and
the government's determination
part (Section 1) the "dead" water,
refers to the old China and the
emotions of the reality of
corruption. A “Hopeless dead" has
a profound meaning: it symbolizes
that in the semi feudal warlords’
corruption in the dark, semi
colonial old China, is "a ditch of
despair and the poet’s
disappointment. In the second
sentence of the poem, "the wind
blowing up a ripple," "cool" and
"dead" can refer to all the fresh
ideas and strength that cannot
create the slightest reaction in the
stagnant water." In the poem’s
third, fourth sentences "If you are
stimulate the reader. Despite the
narrator’s losing hope in the last
stanza, the reader is stimulated to
believe that a new era is
approaching and a new social state
is on the verge of beginning.
k. “Stagnant water”. The "dead
water" symbols, irony , and other
artistic techniques refer to The
Northern Warlords, the dark rule,
the performance of the author, and
the government's determination
part (Section 1) the "dead" water,
refers to the old China and the
emotions of the reality of
corruption. A “Hopeless dead" has
a profound meaning: it symbolizes
that in the semi feudal warlords’
sentence of the poem, "the wind
blowing up a ripple," "cool" and
"dead" can refer to all the fresh
ideas and strength that cannot
create the slightest reaction in the
third, fourth sentences "If you are

The poem of five sections can
be divided into three parts. the
first part (Section 1) the "dead"
water, refers to the old China
and the emotions of the reality
of corruption. A “Hopeless
dead" has a profound
meaning: it symbolizes that in
the semi feudal warlords’
sentence of the poem, "the
wind blowing up a ripple,"
"cool" and "dead" can refer to
all the fresh ideas and strength
that cannot create the slightest
reaction in the stagnant
water." In the poem’s third,
fourth sentences "If you are to
throw some junk-heap, you
might as well throw leftover,"
express that the "stagnant
water", following the
disappointment, caused the
mood of extreme hate. If the
reality is so dark, desperate,
rather than let it rot
completely, the hopelessly bad
will grow more thoroughly
bad, and the new things may
grow stronger. This poem
expresses here how the poet is
full of anger, yet has ardent
hope for good things.
c. In the second part (second,
third or fourth), the poet
of corruption. A “Hopeless
dead" has a profound meaning:
it symbolizes that in the semi
feudal warlords’ corruption in
the dark, semi colonial old
China, is "a ditch of despair and
the poet’s disappointment. In
the second sentence of the
poem, "the wind blowing up a
ripple," "cool" and "dead" can
refer to all the fresh ideas and
strength that cannot create the
slightest reaction in the
third, fourth sentences "If you
are to throw some junk-heap,
you might as well throw
leftover," express that the
"stagnant water", following the
disappointment, caused the
mood of extreme hate. If the
reality is so dark, desperate,
rather than let it rot completely,
the hopelessly bad will grow
more thoroughly bad, and the
new things may grow stronger.
This poem expresses here how
the poet is full of anger, yet has
ardent hope for good things.
f. In the second part (second, third
or fourth), the poet makes a
detailed depiction of the "dead
water,” specifically vividly
reveals the social status of the
old China -- decadent, and this
expression of the old Chinese
hatred, anger, sarcasm.
In the third part (the last
to throw some junk-heap, you
express that the "stagnant water",
following the disappointment,
caused the mood of extreme hate.
If the reality is so dark, desperate,
the hopelessly bad will grow more
thoroughly bad, and the new
things may grow stronger. This
poem expresses here how the poet
is full of anger, yet has ardent hope
for good things.
i. In the second part (second, third or
fourth), the poet makes a detailed
depiction of the "dead water,”
specifically vividly reveals the social
status of the old China -- decadent,
and this expression of the old
Chinese hatred, anger, sarcasm.
In the third part (the last section),
the poet expresses the curse of
reality, the eager desire to change
reality. In the first two sentences,
the poet, in a very flat tone, asserts
that the dark China Society is
completely negating, denying that
“this is a stagnant ditch of
desperation, definitely not
beautiful. The ugly reclaiming the
world – actually, the ugly to the
extreme, attempts a ray of hope.
Therefore, the last two sentences
include not only the despair of the
poet for the old China, but also the
new China’s expectation and
longing, with a strong desire to
change the reality.
to throw some junk-heap, you
express that the "stagnant water",
following the disappointment,
caused the mood of extreme hate.
If the reality is so dark, desperate,
the hopelessly bad will grow more
thoroughly bad, and the new
things may grow stronger. This
poem expresses here how the poet
is full of anger, yet has ardent hope
for good things.
l. In the second part (second, third or
fourth), the poet makes a detailed
depiction of the "dead water,”
specifically vividly reveals the social
status of the old China -- decadent,
Chinese hatred, anger, sarcasm.
In the third part (the last section),
the poet expresses the curse of
reality, the eager desire to change
reality. In the first two sentences,
the poet, in a very flat tone, asserts
that the dark China Society is
completely negating, denying that
“this is a stagnant ditch of
beautiful. The ugly reclaiming the
world – actually, the ugly to the
extreme, attempts a ray of hope.
Therefore, the last two sentences
include not only the despair of the
poet for the old China, but also the
new China’s expectation and
change the reality.

makes a detailed depiction of
the "dead water,” specifically
vividly reveals the social status
of the old China -- decadent,
Chinese hatred, anger,
sarcasm.
In the third part (the last
section), the poet expresses the
curse of reality, the eager
desire to change reality. In the
first two sentences, the poet, in
a very flat tone, asserts that
the dark China Society is
completely negating, denying
that “this is a stagnant ditch of
beautiful. The ugly reclaiming
the world – actually, the ugly
to the extreme, attempts a ray
of hope. Therefore, the last
two sentences include not only
the despair of the poet for the
old China, but also the new
China’s expectation and
change the reality.
The poem then comprises a
strong attack and curse of the
reign of the dark old Chinese,
and expresses the poet’s deep
patriotism. (From “Stagnant
Water” in
http://www.et97.com/view/37
664.htm)
section), the poet expresses the
curse of reality, the eager desire
to change reality. In the first
two sentences, the poet, in a
very flat tone, asserts that the
dark China Society is completely
negating, denying that “this is a
stagnant ditch of desperation,
definitely not beautiful. The ugly
reclaiming the world – actually,
the ugly to the extreme,
attempts a ray of hope.
Therefore, the last two
sentences include not only the
despair of the poet for the old
China, but also the new China’s
expectation and longing, with a
strong desire to change the
reality.
The poem then comprises a
strong attack and curse of the
reign of the dark old Chinese,
and expresses the poet’s deep
patriotism. (From “Stagnant
Water” in
http://www.et97.com/view/376
64.htm)
The poem then comprises a strong
attack and curse of the reign of the
dark old Chinese, and expresses
the poet’s deep patriotism. (From
“Stagnant Water” in
http://www.et97.com/view/37664.
htm)
The poem then comprises a strong
attack and curse of the reign of the
dark old Chinese, and expresses
the poet’s deep patriotism. (From
“Stagnant Water” in
http://www.et97.com/view/37664.
htm)
D. References:
TM/TG Pages: 49-55
D. References:
TM/TG Pages: 49-55
D. References:
TM/TG Pages: 49-55
D. References:
TM/TG Pages: 49-55

LM Page: 69-72
Additional Learning Materials: Internet
LM Page: 69-72
LM Page: 69-72
LM Page: 69-72
E. Activity/Strategies:
 The teacher will ask the students
to perform these contextualized
activities to make the poem more
relevant to their concerns.
1. Academic: Write a two-paragraph
description of the most polluted Philippine
river, the Marilao River. Focus on the
details of its pollution and the hazards
these bring. Make the third paragraph a
crucial step to revive it and make it “alive”
and fresh again.
2. Art and Design: Prepare a visual graphic
of the highly polluted Marilao River. Focus
on the images that contribute to its
hopelessly dead state. Accompany the
visual with a two-paragraph description of
the stagnant water and its implications on
public health.
3. Sports: Explain how swimming in a
polluted river or lake can be very
dangerous for athletes.
4. Tech Voc: Pretend that you are the
secretary of the Department of
Environment and Natural Resources.
Write an urgent program of action to
clean up the Marilao River and transform
it into a clean, toxic-free river that can
“support and protect the livelihoods of the
people and wildlife that depend on these
waterways and the life-sustaining
resources that they provide.”
 The teacher will ask the students to
perform these contextualized
river, the Marilao River. Focus on the
details of its pollution and the hazards
these bring. Make the third paragraph a
crucial step to revive it and make it “alive”
and fresh again.
2. Art and Design: Prepare a visual graphic
of the highly polluted Marilao River. Focus
on the images that contribute to its
hopelessly dead state. Accompany the
visual with a two-paragraph description of
the stagnant water and its implications on
public health.
3. Sports: Explain how swimming in a
polluted river or lake can be very
dangerous for athletes.
secretary of the Department of
Environment and Natural Resources. Write
an urgent program of action to clean up the
Marilao River and transform it into a clean,
toxic-free river that can “support and
protect the livelihoods of the people and
wildlife that depend on these waterways
and the life-sustaining resources that they
provide.”
river, the Marilao River. Focus on the details of
its pollution and the hazards these bring.
Make the third paragraph a crucial step to
revive it and make it “alive” and fresh again.
2. Art and Design: Prepare a visual graphic of
the highly polluted Marilao River. Focus on the
images that contribute to its hopelessly dead
state. Accompany the visual with a two-
paragraph description of the stagnant water
and its implications on public health.
3. Sports: Explain how swimming in a polluted
river or lake can be very dangerous for
athletes.
secretary of the Department of Environment
and Natural Resources. Write an urgent
program of action to clean up the Marilao
River and transform it into a clean, toxic-free
river that can “support and protect the
livelihoods of the people and wildlife that
depend on these waterways and the life-
sustaining resources that they provide.”
river, the Marilao River. Focus on the details of
its pollution and the hazards these bring.
Make the third paragraph a crucial step to
revive it and make it “alive” and fresh again.
2. Art and Design: Prepare a visual graphic of
the highly polluted Marilao River. Focus on the
images that contribute to its hopelessly dead
state. Accompany the visual with a two-
paragraph description of the stagnant water
and its implications on public health.
3. Sports: Explain how swimming in a polluted
river or lake can be very dangerous for
athletes.
secretary of the Department of Environment
and Natural Resources. Write an urgent
program of action to clean up the Marilao
River and transform it into a clean, toxic-free
river that can “support and protect the
livelihoods of the people and wildlife that
depend on these waterways and the life-
sustaining resources that they provide.”

Assessment:
 Quiz
1) The teacher will let the students
discuss react on how important is
the critical reading of various text.
Summary
This creative reaction to a hopelessly dead
ditch water emphasizes how useless and
polluted it has become.
1. It satirizes the fermentation, corrosion,
and toxification that happen through
seemingly beautiful images of emeralds
(patina of corrosion), silky gauze (grease
decomposition), and colorful spume (toxic
cyanobacteria).
2. Greater irony is created through images
of graver spoilage presented as pretty
objects, like jade wine (green liquid of
corrosion), pearls (of scum), etc.
3. In ultimate frustration, the persona
leaves the cultivation of this dead water to
a devil even, and sees what kind of world
can ensue.
4. While these images, as well as the
sarcastic and ironic tone deplore the
Assessment:
 Quiz
discuss react on how important is
the critical reading of various text.
Summary
1. It satirizes the fermentation, corrosion,
and toxification that happen through
seemingly beautiful images of emeralds
(patina of corrosion), silky gauze (grease
decomposition), and colorful spume (toxic
cyanobacteria).
2. Greater irony is created through images
of graver spoilage presented as pretty
objects, like jade wine (green liquid of
corrosion), pearls (of scum), etc.
3. In ultimate frustration, the persona
leaves the cultivation of this dead water to
a devil even, and sees what kind of world
can ensue.
4. While these images, as well as the
Assessment:
 Quiz
discuss react on how important is the
critical reading of various text.
Summary
1. It satirizes the fermentation, corrosion, and
toxification that happen through seemingly
beautiful images of emeralds (patina of
corrosion), silky gauze (grease decomposition),
and colorful spume (toxic cyanobacteria).
2. Greater irony is created through images of
graver spoilage presented as pretty objects,
like jade wine (green liquid of corrosion),
pearls (of scum), etc.
3. In ultimate frustration, the persona leaves
the cultivation of this dead water to a devil
even, and sees what kind of world can ensue.
4. While these images, as well as the sarcastic
and ironic tone deplore the hopelessness of
the polluted water, this decayed water may be
Assessment:
 Quiz
discuss react on how important is the
critical reading of various text.
Summary
1. It satirizes the fermentation, corrosion, and
toxification that happen through seemingly
beautiful images of emeralds (patina of
corrosion), silky gauze (grease decomposition),
and colorful spume (toxic cyanobacteria).
2. Greater irony is created through images of
graver spoilage presented as pretty objects,
like jade wine (green liquid of corrosion),
pearls (of scum), etc.
3. In ultimate frustration, the persona leaves
the cultivation of this dead water to a devil
even, and sees what kind of world can ensue.
4. While these images, as well as the sarcastic
and ironic tone deplore the hopelessness of
the polluted water, this decayed water may be

hopelessness of the polluted water, this
decayed water may be seen as a criticism
of China and its political, even moral
decay. And if the dead water cannot be
rehabilitated, even by the symbolic devil,
China cannot be revitalized by the
Kuomintang and political rivalries (at the
time).
sarcastic and ironic tone deplore the
hopelessness of the polluted water, this
decayed water may be seen as a criticism
of China and its political, even moral decay.
And if the dead water cannot be
rehabilitated, even by the symbolic devil,
China cannot be revitalized by the
time).
seen as a criticism of China and its political,
even moral decay. And if the dead water
cannot be rehabilitated, even by the symbolic
devil, China cannot be revitalized by the
time).
seen as a criticism of China and its political,
even moral decay. And if the dead water
cannot be rehabilitated, even by the symbolic
devil, China cannot be revitalized by the
time).
F. Remarks:
This learning area English for Academic and
Professional Purposes contained 80 hours in the
whole semester with 1 hour per session.
F. Remarks:
F. Remarks:
F. Remarks:
Prepared by: Checked by: Noted by: Approved:
JEMAR M. BANDAJA JOAN B. CAHILOG ALLAN H. PALMA GIL MARILYN S. CAPIÑA, ED.D.
SHS Teacher 1 Master Teacher, Academic Track SHS Focal Person Secondary School Principal IV

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