di ko alam di ko alam di ko alam
gusto ko kase magkaroon ng points
the vanity of the rat by y.t. pyun
4. what particular character trait of a korean family is implicitly revealed in the fable?
5. how is their practice similar or different from filipinos?
look for a family picture where there is a gathering or event that shows family bonding
and love to your family. paste it on a bond paper and write a caption or a short description of the picture.
opportunist conceited greedy
3. do the characteristics in the fable behave somewhat the same as real human beings?
t a r
2. was mr. rat’s choice of a husband for rena really the best?
y m f i l a
. write the particular line stated by the characters in the bubble and infer their personality trait by choosing from the pool of words in the box.
using your knowledge of the theme, identify the central idea or theme of the story. write three words related to it and give the situation that shows it.
1. what characteristics of a prospective husband does mr. rat want for his daughter?
p t n a e r r
6. what does this similarity or difference imply?
i g e m r a a r
in the mahabharata her story is told by vaishampayana in response to a question by king janamejaya about his remote ancestors. the women who people our epics are shaktis: each one of them is endowed with power, sure of herself, sure of the choices she makes, sure in her speech, protective, passionate, loving, giving, hungry for life, filled with adventurousness, a fearless wanderer in life’s vast fields.
she inherits her soul from our vedic women: independent, assertive, strong winners, who took responsibility for themselves. authentic women who participated in all fields of life as men’s equals. they debated on the meaning of life with the best of philosophers. they explored the mysteries of existence just as the men of their times did. they composed poems, sacred and mundane, poems of the soul and of the flesh, singing of spiritual ecstasy and sexual longing, that survive to this day.
the changes kalidasa makes in shakuntala tells us much about the changes that took place in women’s status, her role in a man’s life and societal and familial expectations from her by the time we leave behind epic times and reach what modern historians call the golden period of indian history. vyasa’s shakuntala is strong. she is shakti, bold and fearless. in the case of kalidasa’s shakuntala, her strength lies in her weakness, in her helplessness. she is an abala: an infantilized woman whose strength is her capacity to invoke protectiveness in us.