21st Century Literature From The Philippines

Download as docx, pdf, or txt
Download as docx, pdf, or txt
You are on page 1of 29

11

21st Century
Literature from
the Philippines
Quarter 3- Module 1- Lesson 2:
Representative Texts and Authors
from Each Region
21st Century Literature from the Philippines and the World – Grade 11
Quarter 1 – Module 1-Lesson 2: Representative Texts and Authors from
Each Region

First Edition, 2020

Republic Act 8293, section 176 states that: No copyright shall


subsist in any work of the Government of the Philippines. However, prior
approval of the government agency or office wherein the work is created
shall be necessary for exploitation of such work for profit. Such agency or
office may, among other things, impose as a condition the payment of
royalties.

Borrowed materials (i.e., songs, stories, poems, pictures, photos,


brand names, trademarks, etc.) included in this module are owned by their
respective copyright holders. Every effort has been exerted to locate and
seek permission to use these materials from their respective copyright
owners. The publisher and authors do not represent nor claim ownership
over them.

Published by the Department of Education


Secretary: Leonor Magtolis Briones
Undersecretary: Diosdado M. San Antonio

Development Team of the Module


Writer: DOROTHY Z. JACINTO
Editor: BELEN D. TADO, PhD
Reviewers: MAY ANN GO, PhD
CRISPINA S. EBDAO, PhD
Layout Artist JESSON A. LECHIDO
Management Team:
Josephine L. Fadul – Schools Division Superintendent
Melanie P. Estacio – Assistant Schools Division Superintendent
Christine C. Bagacay – Chief Curriculum Implementation Division
Darwin F. Suyat – Education Progress Supervisor – English
Lorna C. Ragos – Education Progress Supervisor
Learning Resources Management

Printed in the Philippines by

Department of Education – Region XI

Office Address: Energy Park, Apokon, Tagum City, 8100


Telefax: (084) 216-3504
E-mail Address: tagum.city@deped.gov.ph

ii
11

21st Century
Literature from
the Philippines

Quarter 3- Module 1- Lesson 2:


Representative Texts and Authors
from Each Region

iii
Introductory Message
This Self-Learning Module (SLM) is prepared so that you, our
dear learners, can continue your studies and learn while at
home. Activities, questions, directions, exercises, and
discussions are carefully stated for you to understand each
lesson.
Each SLM is composed of different parts. Each part shall guide
you step-by-step as you discover and understand the lesson
prepared for you.
Pre-tests are provided to measure your prior knowledge on
lessons in each SLM. This will tell you if you need to proceed on
completing this module or if you need to ask your facilitator or
your teacher’s assistance for better understanding of the lesson.
At the end of each module, you need to answer the post-test to
self-check your learning. Answer keys are provided for each
activity and test. We trust that you will be honest in using these.
In addition to the material in the main text, Notes to the Teacher
are also provided to our facilitators and parents for strategies and
reminders on how they can best help you on your home-based
learning.
Please use this module with care. Do not put unnecessary marks
on any part of this SLM. Use a separate sheet of paper in
answering the exercises and tests. And read the instructions
carefully before performing each task.
If you have any questions in using this SLM or any difficulty in
answering the tasks in this module, do not hesitate to consult
your teacher or facilitator.
Thank you.

iv
Let Us Learn!

Welcome!

This module is prepared to help you achieve the required learning outcome
on Geographic, Linguistic, and Ethnic Dimensions of Philippine Literary
history from Pre-colonial to the Contemporary and representative texts and
authors from the region. This will be the source of information that will
enable you to acquire the knowledge, skills and attitudes in this particular
trade independently at your own pace or with minimum supervision or help
from your instructor.

1. Talk to your trainer and agree on how you will both organize the
training of this unit. Read through the learning guide carefully. It is
divided into sections which cover all the skills and knowledge you
need to successfully complete this module.
2. Use the self-check questions at the end of each section to test your
own progress.
3. When you have completed this module (or several modules) and feel
confident that you have had sufficient practice, your trainer will
arrange an appointment with you to assess you. The result of your
assessment will be recorded in your Competency Achievement Record.

This module contains the following Lesson:


4. Geographic, Linguistic, and Ethnic Dimensions of Philippine Literary
history from Pre-colonial to the Contemporary.
5. Representative Texts and Authors from the Region.

MELCs anchored for the Module:


 Writing a close analysis and critical interpretation of literary texts
and doing an adaptation of these require from the learner the ability
to identify:
a. the geographic, linguistic, and ethnic dimensions of Philippine
literary history from pre-colonial to the contemporary
b. representative texts and authors from each region (e.g. engage
in oral history research with focus on key personalities from the
students’ region/province/town). (EN12Lit-Ia-21/22)
1
Learning Objectives:
After reading this Self-Learning Module, you are expected to:
1. Identify the geographic, linguistic, and ethnic dimensions of Philippine
literary history from pre-colonial to the contemporary and representative
texts used by authors from the regions.
2. Write a close analysis and critical interpretation of literary texts from pre-
colonial to the contemporary.
3. Value, appreciate and show a sense of adaptability of the Philippine
Literary History written by different Filipino authors from pre-colonial to the
contemporary.

Let Us Try!

Multiple Choice. Directions: Choose the letter of the best answer.


Write the chosen letter on a separate sheet of paper.

1. _______ is the most exciting moment in the story when the outcome is
decided.
a. Climax b. Complication c. Conflict d. Resolution
2. It is where and when the story occurs which help initiate the main
backdrop and mood.
a. Climax b. Point of view c. Setting d. Theme

3. It is the underlying message or what critical belief about life the


author is trying to convey.
a. Climax b. Point of view c. Setting d. Theme

4. The following are the types of external conflict EXCEPT:


a. Man vs Man b. Man vs Nature c. Man vs Self d. Man vs Society

5. This is used to describe the event that make up a story or the main
part of a story. These events relate to each other in pattern or
sequence.
a. Character b. Conflict c. Plot d. Setting

6. An element of PLOT wherein the outcome is being decided.


a. Climax b. Falling Action c. Rising Action d. Denouement

2
7. _______________ is a type of character who make up the story.
a. Antagonist b. Flat c. Protagonist d. Round

8. What is an element of a story that described who told the story?


a. Character b. Plot c. Point of View d. Setting

9. An element of PLOT that introduces the conflict and characters of the


story.
a. Exposition b. Rising Action c. Falling Action d. Denouement

10. PLOT is an element of fiction that serves as the foundation of the


story.
a. True b. False c. Maybe d. Undecided
Lesson 1
Lesson Representative
3 Texts and Authors

2 from Each Region


3
Let Us Study
Learning Objectives:

After reading this SLM, you are expected to identify the different elements of
fiction and will be able to distinguish representative texts and authors from
the region in the sample story presented.

Introduction

What is Fiction?

Historically, the word fiction has been derived from Latin term “fictus,”
which means “to form.” However, in literature, Merriam Webster defines it
as, “literature composed of prose, especially novels, that describes imaginary
events and people.” So, fiction is a product of writer’s imagination. It is one
of the two branches of literature, the other one is non-fiction. Fictional
works consist of stories, novels, and dramas based on made-up and
fabricated stories and characters. Fiction contains certain symbolic and
thematic features known as “literary merits.” In other words, fiction narrates
a story, which aims at something bigger than merely a story. In this
attempt, it comments on something significant related to social, political, or
human related issues.

What is a story?

A story is made up of prose, some are shorter and can be read in just a
single sitting and some are longer and could be considered as novel usually
dealing with a few characters and aiming at unity of effect and often
concentrating on the creation of mood rather than plot. It is a work of fiction
that is categorized by its length. Historically, short stories are typically
between 1,000 and 20,000 words long and can be consumed in a single
reading session. However, as time goes by it is being categorized as literary
pieces evolved. Works longer than a short story but shorter than a novel are

4
classified as Novellas and works shorter than 1,000 words are increasing
classified as very short stories, short short stories, or flash fiction.
Despite their brevity, short stories are complete works of fiction generally
exhibiting the common literary devices of; character, setting, plot,
conflict, and theme which also comprised in the elements of fiction with
the other two, namely; point of view and symbol.
Elements of fiction or Story
Elements of fiction plays an important part in creating a story. It is
where the story being anchored. Without the elements of fiction, no story
can be crafted.
1. Plot - Used to describe the events that make up a story or the
main part of a story. These events relate to each other in pattern or a
sequence. It is said to be the foundation of a novel or a story, without
plot, no story can be formed.

Elements of Plot

1.1 Exposition or Introduction - This is known as the beginning of


the story where characters and setting are established. The
conflict or main problem is introduced as well.
1.2 Rising Action - which occurs when a series of events build up to
the conflict. The main characters are established by the time the
rising action of a plot occurs and at the same time, events begin
to get complicated. It is during this part of a story that
excitement, tension, or crisis is encountered.
1.3 Climax or the main point of the plot - This is the turning point
of the story and is meant to be the moment of highest interest
and emotion. The reader wonders what is going to happen next.

5
1.4 Falling action or the winding up of the story - Events and
complications begin to resolve and the result of actions of the
main characters are put forward.
1.5 Denouement or Resolution - It is the conclusion or end of a
story and ends with either a happy or a tragic ending.

2. Setting - is a description of where and when the story takes place.


In a short story there are fewer settings compared to a novel. The time
is more limited. It helps initiate the main backdrop and mood for a
story.

Types of Setting

2.1 Physical - is “where” the story takes place. It talks about the place
2.2 Chronological – is “when” the story takes place. It talks about the time
or the sequence of events in the story. This might also involve dates of
occurrences.

3. Character – As any person, animal or figure represented in a


literary works. Every character created in a story plays an important
role. They are the ones who made up the story. Types of character
depends on how the characters in the story are described. In short
stories, there are usually fewer characters compared to a novel. They
usually focus on one central character or protagonist.

Types of Character

3.1 Protagonist – this is the main character of the story, the star of
the show and most of the action focussed around them.

Example: SPO2 Ricardo Dalisay of “Ang Probinsyano,” Harry Potter of


“Harry Potter,” Frodo Baggins of “Lord of the Rings,” and Katniss Everdeen of
“Hunger Games”.

3.2 Antagonist – this is usually the villain of the story. They are the
ones who made the protagonist star of the show, without them
the story is said to be dull and pointless. Their role is as
important as the role of the protagonist.

Example: Joaquin Tuazon of “Ang Probinsyano,” Voldemort of “Harry


Potter,” Sauron of “Lord of the Rings,” President Snow of “Hunger Games”

3.3 Deuteragonist – They are the supporting characters or the


sidekicks to the protagonist.

Example: Benny of “Ang Probinsyano,” Ron and Hermione of “Harry Potter,”


Samwise Gamgee, Lumiere and Cogsworth of “Lord of the Rings,” Haymitch
Abernathy of “Hunger Games”
3.4 Tertiary characters – These characters are just passers-by.
6
Usually these are the guest character in the movies. Their
function is to look the movie more realistic. They are these who
sells balloons at the park, protesters in the rally, a barista in the
bar, the random guy who sit next to the main character in class,
etc.

Example: Mr. Poe of “A Series of Unfortunate Events,” Radagast of “The Lord


of the Rings,” Padma and Parvati Patil of “Harry Potter,” Calo and Fabrizio of
“The Godfather,” and Madame Stahl of “Anna Karenina”

3.5 Foil character - A foil is someone whose personality and values


fundamentally clash with the protagonist’s. This clash highlights
the main character’s defining attributes, giving us a better
picture of who they truly are.

Example: Draco Malfoy of “Harry Potter,” Effie Trinket of “Hunger Games,”


Lydia Bennet of “Pride and Prejudice,” George and Lennie of “Mice and Men,”
and Kirk and Spock of “Star Trek.”

3.6 Dynamic/changing character - is one who changes over the


course of story. They often evolve to become better or wiser, but
sometimes they can devolve as well — many villains are made
through a shift from good to evil, like Anakin Skywalker and
Harvey Dent. The protagonist of your story should always be
dynamic, and most of the deuteragonists should be as well.
However, you do not need to make the changes super obvious in
order for your audience to catch on. During your narrative
journey, these changes should come about subtly and naturally.

Example: Elizabeth Bennet of “Pride and Prejudice,” Don Quixote of “Don


Quixote,” Ebenezer Scrooge of “A Christmas Carol,” Neville Longbottom of
“Harry Potter,” Han Solo of “Star Wars,” and Walter White of “Breaking Bad.”

3.7 Static/unchanging character - the one who does not change.


Many static characters are simply flat and having too many is
usually a symptom of lazy writing. However, certain kinds can
serve a larger purpose in a story. These static figures tend to be
unlikable, such as Cinderella’s stepsisters and Harry Potter’s
aunt and uncle — their ignorance to how they’re mistreating our
hero makes them people we “love to hate,” and boosts our
sympathy for the protagonist. They may also impart a lesson to
the reader: you do not want to end up like me.

Example: Lola Flora of “Ang Probinsyano,” Mr Collins of “Pride and


Prejudice,” Miss Havisham of “Great Expectations,” Harry and Zinnia
Wormwood (Matilda’s parents) of “Matilda,” Sherlock Holmes (a rare static
protagonist) of “Sherlock Holmes,” and Karen Smith of “Mean Girls.”

3.8 Round character - is very similar to a dynamic one, in that they


both typically change throughout their character arc. The key
difference is that we as7 readers can perceive that the round
character is nuance and contains multitudes even before any
major change has occurred. The round character has a full
backstory (though not always revealed in the narrative), complex
emotions, and realistic motivations for what they do. This does
not necessarily mean they are a good person — indeed, many of
the best round characters are deeply flawed. But you should still
be interested and excited to follow their arc because you can
never be quite sure where they will be led or how they will
change. Aside from that, most great protagonists are not only
dynamic, but also round.

Example: Amy Dunne of “Gone Girl,” Atticus Finch of “To Kill a


Mockingbird,” Randle McMurphy of “One Flew Over the Cuckoo's Nest,” and
Michael Corleone of “The Godfather”

4. Conflict – is defined as any struggles between opposing forces.


Without conflict, stories are boring to read. It is the conflict that the
main character faces and trying to get through in the entire course of
the story which made us to flip the pages around because it keeps us
engaged and entertained.

Types of Conflict

4.1 Internal Conflict - An internal or psychological conflict arises as soon


as a character experiences two opposite emotions or desires: usually virtue
or vice, or good and evil inside him. This disagreement causes a character to
suffer mental agony. Internal conflict develops a unique tension in a
storyline marked by a lack of action. Uncertainties and complications can
come from many sources: External interference: A character who battles
addiction, for example, has a ‘bad influence’, partying friend; Interpretation
and framing: The stories they tell themselves, framing experiences, may
influence whether their ‘good’ or ‘bad’ self-wins; and Circumstances beyond
characters’ control: For example, a character who struggles with mental
health and relies on medication for stability.
- Internal conflict is also known as Man vs. Self
or Person vs. Self.

Example: “The Call of the Wild”, in which the protagonist (in this case, a dog)
is torn between a domesticated self and wild self.

4.2 External Conflict - is marked by a characteristic involvement of an


action wherein a character finds himself in struggle with those outside
forces that hamper his progress. The most common type of an external
conflict is where a protagonist fights back against the antagonist’s tactics
that impede his or her advancement.

Types of External Conflict


8
4.2.1 Person vs. Person or Man vs. Man - Conflict that pits one person
against another is about as classic as a story can get. This type of conflict is
pretty much self-explanatory, with one person struggling for victory over
another. There are countless examples of this type of conflict in literature.

Example: The story in Cinderella, Ang Probinsyano, Harry Potter, X-Men


Origins: Wolverine, Ant Man, Spider Man

4.2.2 Person vs. Nature or Man vs. Nature - this type of conflict,
humankind comes up against nature, 9 battling for survival against its
unstoppable and indifferent force. The hero may be forced to confront
nature, or the protagonist may be seeking the conflict, trying to exert
dominance over nature.

Example: Life of Pi, The Lost City of Z, 2012, San Andreas, Tsunami

4.2.3 Person vs. Society or Man vs. Society - The person-against- society
conflict follows the storyline of an individual or a group fighting (sometimes
successful, sometimes not) against injustices within their society or
government. It illustrates a story driven by rebellion against a society, as the
characters struggle against a corrupt power structure, create a new society,
and continue to experience struggles within the new society.

Example: Hunger Games, Divergent, Avatar, etc.

5. Symbol – it is a tangible physical thing which symbolizes means


something else.

Example: Dove – represents peace, weighing scale – symbolizes justice,


water – embodies purity

6. Point of View or (POV) – is defined as how the story being told,


which can be identified through the flow of the episodes.

Types of Point of View (POV)

6.1 First Person POV - the unfolding of events is told by the main character
of the story, a narrator used the first-person pronoun, I. So, the occurrences
are the firsthand experiences of the author. He is the main character of the
story.

6.2 Second Person POV - is the first-person observer. The author is part of
the story, but he/she is not the main character. The writer may have a close
relationship with the protagonist. He/she may be played the role of a best
friend, confidante, a family, or love interest of the leading character.

6.3 Third Person POV - is not narrated by the character in the story but
rather an “invisible author”, using the third person pronoun (he, she, or it).
The writer is not part of the story.

7. Theme - The central and dominating idea in a literary work. The


term also indicates a message or moral implicit in any work of art. It is
the underlying message or what critical belief about life is the author
trying to convey. The moral lessons that the reader may obtain after
viewing or reading the story.

10
Let Us Practice

Self-Check 1.1
DIRECTION: Draw a heart ♥ in column C if the statement in column A
corresponds with column B, and if not, draw a diamond ♦ and write beside it
the correct word/s that best describe the statement.
A B C
1. It is the
chronological sequence of Where
events in the story.
2. He/she is the main character
Protagonist
of the story.
3. It is an example of man vs. Movie entitled “San
nature external conflict. Andreas”
4. The character of Lola Flora in
“Ang Probinsyano” TV series is Round Character
an example of ____________.
5. The resolution or the
conclusion of the story is also Denouement
known as _______________.
6. It is the underlying message
that the author is trying to Resolution
convey in a story.
7. The dynamic type of character
in a story is sometimes the True
protagonist.
8. The unfolding of events is told
by the main character of the Second person POV
story.
9. It is the foundation of a story. Setting
10. It described as the physical
and chronological aspect of the Plot
story.
11

Let Us Practice
Self-Check 1.2
DIRECTION: Read the story below entitled “I Am One of the Mountain
People” by Macario D. Tiu and fill in the following needed information:

Exposition:
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
Rising Action:
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
Climax:
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
Falling Action:
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
Resolution or Denouement:
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
__________________________________________________________________________.
12
I Am One of the Mountain People
by Macario D. Tiu

(Dr. Macario Tiu is a Literature professor and the Publications director of Ateneo de
Davao University. He has three Palanca golds for Short Story in Cebuano. He has
also won the Philippine Graphics Fiction award for his writing in English. Dr. Tiu's
publishing track includes Skyrose and Other Stories. He has also published Davao:
Reconstructing History from Text and Memory which won the National Book Award
in the history category in 2005.)

I did not want to go to Santa Barbara, but Ita Magdum forced me to go


there. He wanted me to have a Christian education. He told me that he was
not going to let me remain idle in the mountains, and consequently become
as stupid as ignorant as the rest of his people. He said that I could learn
many things from the Christians and in that way, I could help improve the
lot of the whole tribe.
I was then seven summer old and I didn't understand what he was
talking about. Although he made the prospect of going there very tempting, I
refused to go. Not even the tales of the three-storey school building, of
running houses and plenty of food and toys convinced me that I should
leave my home and my friends for Santa Barbara. And so Ita had to beat me
to make me go with him to the Christian town.
We traveled for five days before we reached our destination. The trip
was hazardous and formidable. We crossed the river, Subangdaku, which
was infested with deadly crocodiles, on a raft. We struggled in the deep
marches and inched our way through thick forest.
It was nightfall when we reached the town. Ita immediately left me to
the care of the elderly woman called Nana Loling. She was a kind woman.
She assured me that everything would be alright. But I was not comforted.
That night, a nagging desire to escape and run home kept me awake. But
how? In the still of the night, dogs were howling intermittently. A bad omen?
Then I feared I might get lost on the way or a sawa might be waiting for me.
In school, I was the laughingstock, because l was not of their kind.
How they laughed when I told them I came from the Green Area, that part of
land where no Christian had ever gone. For that, I was always in trouble.
And I was always brought me the principal's office for disciplinary action.
Why did you pull Elenita’s hair, he would ask. Or why did you box Berto’s
ears? And I would answer, because Elenita kicked me and Berto called me
"pig" and "monkey''. But I was whipped anyway, no matter what reason I
gave. That was the only way to tame me. I heard them say.

13
Ita visited me once every two months. Every time he would visit me,
I’d plead with him to bring me home. But he would refuse. It was not yet
time for me to go home, he would say.
I was terribly homesick. How I wished I could be at Ita's side. I'd plead
with him to be with my own people; to sit by the bonfire and listen to the
weird stories of the long past-of how the early Balangays at the seacoast of
Caraga were attacked by fierce Allah worshippers and how gallantly our
early forebears fought, but were forced to move out to the mountains. I loved
to hear the vaunting of the hunters on how they got the fangs of wild boars
and crocodile teeth that decorated their necks. I wanted to be like them.
The three-storey building in Santa Barbara was indeed tall, but the
trees at Kapalong were much taller. There was nothing glamourous with
those running houses either. They only frightened me as they whizzed by
carrying logs on their backs and screaming infernally at people to keep out
of the road. Food was plenty so were the fruits. But money was needed
before we could get them. At Kapatagan, I could get all the fruits I wanted
for free.
Six years I suffered. Then Ita brought me home for a visit as a gift for
my graduation. How happy I was to home again! I was so happy I didn't
mind the hardships of the trek, I even forgot about the sawa. But with Ita,
really I feared nothing. He was the master of the jungle. He had said once
that he owned the vast tract of land from Caraga to Santa Barbara, but that
some parts of it were stolen by the outsiders.
I expected some jubilation upon my return. But our place was bleak.
Later I learned that my own people now considered me as Christian,
therefore an infidel. Indeed, what was there to be happy about the return of
an infidel? I found them to be indifferent to me, even hostile. Ita told me not
to mind them. They didn't understand what was his design for me, he said,
and the whole tribe.
Bal-og, my younger brother, thought of me as a hero. He said he
envied me. He confessed that he disliked the tattoos he had. How he cursed
the man who pierced his earlobes. It was in one of these talks with Bal-og
that I realized how different I was from them, from my own people. I had no
tattoos. I had no holes in my earlobes. Yet I knew deep inside me I was one
of them. There was a deep pain of being unwanted. The agony I felt.
Constantly I cried: "I am of the mountains. I am one of the mountain
people.” And yet somehow, I was not.
It would still be some four to five years before Bal-og was allowed to go
to Santa Barbara. Therefore, he had a great thirst to know more other
Christian town. I told him many stories about it: my studies, the three-
storey school building, the running houses and the Christians.
"What does Christian mean?'' he asked me once.

14
I didn't know too, to be honest. But I told him about the big house
with steeples and a belfry. It was owned by the tall white man who always
wore a white dress. I described it to him: there were big anitos inside it.
Beautiful anitos. Their hands were outstretched as if ready to embrace. l
told him that these anitos were quite different from ours, our anitos grasped
their knees and their eyes were abnormally large and protruding.
"How else do we differ from them?" he became more curious.
"Well, for one thing," I told him, "the Christians do not worship big
trees or the flying wild geese like we do. In fact they cut big trees and shoot
wild geese:'
He muttered a curse upon hearing this, "Then, they would also cut the
Magu? "he asked in disbelief. How naive my brother Is, I thought and I
laughed. The Magu was the biggest tree in the forest. It was said to be abode
of the anitos. We gave offerings to the Magu during the full moon to appease
the anitos,
I learned while in Santa Barbara, however that there was only one
God. Our teacher, Mrs. Martinez, taught us that this God was to be loved by
all, not feared. The mountain people feared the Magu, therefore the Magu
must be a fake God. So I told Bal-og that the "Magu" was just another big
tree, and when finally the place would be accessible to the Christians, they
would cut it. Bal-og ran away from me in horror when I said that.
I did not know what prodded me to go to the Magu one day and make
a dirty mark, a big cross, on its gnarled bark. Perhaps I just wanted to test
the veracity of Mrs. Martinez' teachings. When the elders heard about it,
they immediately went to the Magu to offer sacrifices. I could have been the
one sacrificed; but then I was the son of Datu Magdum. So they burned
instead five chickens, a pig, wild fruits and sack of rice. They danced
hysterically around the Magu. The priest, after the sacrificed offerings shook
his head, and said that surely the anitos would punish me. I wouldn't see
another tomorrow he said, for the anitos would get me in my sleep.
I was afraid of what the priest said. Meanwhile, Ita just kept silent. He
didn't comfort me nor scold me. And that night, I prayed myself to sleep. I
prayed hard to the Blessed Virgin as I never prayed before. I also asked
forgiveness from the Magu, promising not to do a thing like that again. And I
survived to see another tomorrow.
The elders then thought that maybe the anitos were pleased with the
offerings and did not have to punish me. They again went to the Magu and
offered sacrifices. They also scraped off the mark I made.
When the furor over the incident died down, I started going openly to
the bonfire and sat with the younger group and listened to the tales of the
tales of the old men and warriors. The stories usually centered on the

15
exploits of our ancestors and the glory of our tribe before the Allah-
worshippers came. How the elders cursed these infidels! Never, never
befriend an infidel of this kind, for the Magu wouldn't like it.
I didn't believe them of course. In Santa Barbara, my only friend was
Abdul. My classmates were afraid to chide and make fun of him because he
had warned them that his grandfather was a baraungan and owned a tame
bee colony that could kill a man at his command. Abdul never went inside
the big house. He said that the pandita told him it was the house of the
devil. See those idols there? He asked. People who worshipped in that house
would be punished by Allah, he said.
I felt awkward, whenever I was with my old friends whom I befriended
again seeing how different I was from them. I just loved their tattoos. I had
none. And my earlobes were desperately unattractive. However, I let myself
forget to brush my teeth and I started chewing betel nut. I let my fingernails
grow, I dirtied my body with charcoal dust. And I enjoyed everything of it. I
loved that kind of life.
Ita, however, didn't like what I was doing. He had tried hard to spare
me the tribal customs of tattooing and boring the earlobes so I could be
presentable to the people of Santa Barbara. Now I must not destroy his
hopes for me, he warned. But everyday, I was drawn closer and closer to the
ways of my own people. Finally, forgetting Ita’s warnings I let Apo Ugpo
carve a tattoo on my chest. When Ita discovered this, he whipped me! You
disobeyed me! His whole body shook with anger as he hit my back with a
lash.
I told him I wanted his kind of life and I pleaded with him to let me
stay forever, but it made him angrier. He told me I was his only hope, his
people's hope. That I must learn from the Christians and discover their
source of power, for they were continually advancing toward the Green Area,
stealing large tracts of our land. He said that I should learn from them so
that our tribe would know how to deal with them when, as the Allah
worshippers did, the Christians would drive us out from our homes. Learn
from them and stay in Santa Barbara to speak for us. Try to love the place,
he said, I told him I tried but that I failed for I still hated Santa Barbara. Try
again, and he left me.
The next morning, Ita sent me back with Isog as my guide. He was as
old as I was. He was being trained as a warrior. On a way, he showed me a
village burned by the Christians at the edge of the Green Area. It was my
uncle's village. He said the Christians killed many of my uncle's people, and
now all the tribes were arming themselves except ours. Your father, Datu
Magdum, wants us to change according to Christians ways, he said, spitting
at the word Christian. We are a great tribe, he added, I say we fight them
when they touch us, like our forefathers did when the Allah worshippers
came. And he looked at me with angry eyes.

16
I languished in Santa for another year. What was there to learn? High
School education was worthless. It hadn't done anything good for me nor my
classmate. On the contrary, Berto became a habitual drunkard and was
expelled from school. Elenita became pregnant and was driven away by her
own parents.
As days rolled by, my desire to go home became more intense. It was
getting unbearable. Too, it had been seven years already that I had stayed in
Santa Barbara, but still I was considered an outsider, an outcast. That was
more unbearable. And at night I always prayed to the Blessed Virgin to
make my classmates love me. Then maybe I could like Santa Barbara and
stay there, forever like what Ita wanted. But my prayers were not heard.
Everything was wasted. Not even kneeling for hours and kissing each bead
of the rosary over and over again did much good. The Virgin seemed to have
forgotten me.
The last time Ita visited me, I was surprised to see how he changed He
looked very old. He told me to be patient and to be stronger in my
determination. With him was Isog who took me aside when Ita was talking
with Nana Loling. There was another massacre in Kapatagan, he said. Many
are discontented with your father. He talks of you learning the Christians
magic. They don't have magic, they have guns. That's their source of power,
he said. His eyes burned with hate, and I knew he was mocking me.
I thought of nothing else for days but Isog’s angry words. My people!
My people! They were being slaughtered like pigs while I did nothing but try
to learn something I didn’t want to learn. And I was ashamed of myself.
So, I decided to go home, 1 pierced my earlobes with a needle and
forced sharpened matchsticks into the holes to enlarge them. It hurt, but I
cried silently. Now, I was one of them, and Ita wouldn't be able to do
anything anymore but accept me.
I didn’t let Nana Loling know of my plan because she would object to
it. She would do everything to keep me, even call the police. She knew also
that it was impossible for me to reach our place. Only Ita Magnum and a
selected few knew the way. But I slipped out of the house one night a week
ago, anyway. It was the full moon and I ran and ran. Away from Santa
Barbara.
When daylight came, I knew that I was lost, Yet I walked on and on.
Maybe far ahead was Subangdaku, I amused myself. It was my only hope.
I didn't want to go Santa Barbara but Ita Magdurn forced me to go there.

Let Us Practice More

17
Self-Check 1.3
CAUSE AND EFFECT. Direction: The chart below has two columns. The
first column presents major events in the story “I am one of the Mountain
People”. In the second column, write the cause of these events. The first one
is done for you.
EVENT CAUSE

1. The boy 1. Ita


went to Santa Barbara to study. wanted him to learn the Christian
ways to help improve the whole
tribe.
2. The boy became 2.
the laughingstock in the
Christian school.
3. He was always 3.
brought to the principal’s office
for disciplinary action.
4. Ita brought the 4.
boy home to the green area for a
visit.
5. The boy made a dirty mark, a big 5.
cross on the Magu’s bark.
6. The elders went to the Magu to 6.
offer sacrifices.
7. When Ita discovered that the boy 7.
had a tattoo carved on his chest, he
whipped the boy.
8. The boy said that high school 8.
education was worthless.
9. Isog told the boy that there was 9.
another massacre in kapatagan.
10. The boy decided to go home 10.
without his father’s knowledge.

Let Us Remember

18
Activity 1.1

DIRECTION. Write your answer in one whole sheet of paper to the following
questions; WHAT, WHO, WHERE, WHEN, WHY and HOW based on the story
entitled “I am one of the Mountain People” by Macario D. Tiu.

1. WHAT is the story all about?


2. WHO are the characters of the story?
3. WHERE did the story took place?
4. WHEN did it happened? (sequence of events)
5. WHY did the conflict develop? Can you tell what
type of conflict it is?
6. HOW did they resolve the conflict?
7. After reading the story, can you tell where does the
story originated from? If yes, write the word or group of words that made
you decide it is from that place or region.
8. Who is the narrator of the story?
9. What type of Point of View is the story? Prove your
answer.

10. What is the theme or message of the story?

Scoring Rubric:

CRITERIA RA T I N G
1.The output provides a clear comprehensive 1 2 3 4 5
summary of the individual’s background and other
relevant information.
2.The output provides a clear opinions and 1 2 3 4 5
reaction to the issues or information discussed.

3.The information presented is accurate, clear, 1 2 3 4 5


and up to date.

4.The output is original and does not contain 1 2 3 4 5


plagiarized content.

5.The conclusions given are reasonable, with 1 2 3 4 5


adequate supporting evidence and details.

TOTAL (25 POINTS)

19
Let Us Assess

FILL IN THE BLANKS. Direction. Give your answers on the blank/s


provided to complete the sequence of events in the story below.

I did not want to go to 1.) __________________, but 2.) ________________ forced


me to go there. He wanted me to have a Christian education. He told me
that he was not going to let me remain idle in the mountains, and
consequently become as stupid as ignorant as the rest of his people. He said
that I could learn many things from the Christians and in that way I could
help improve the lot of the whole tribe.
I was then 3.) ______________________ and I didn't understand what he was
talking about. Although he made the prospect of going there very tempting, I
refused to go. Not even the tales of the three-storey school building, of
running houses and plenty of food and toys convinced me that I should
leave my home and my friends for Santa Barbara. And so Ita had to beat me
to make me go with him to the Christian town.
We traveled for 4.) _______________ before we reached our destination. The
trip was 5.) ________________ and 6.) ________________. We crossed the river,
7.) ____________________, which was infested with deadly crocodiles, on a
raft. We struggled in the deep marches and inched our way through thick
forest.
It was 8.)_________________ when we reached the town. Ita immediately left
me to the care of the elderly woman called 9.)__________________. She was a
kind woman. She assured me that everything would be alright. But I was
not comforted. That night, a nagging desire to escape and run home kept me
awake. But how? In the still of the night, dogs were howling intermittently. A
bad omen? Then I feared I might get lost on the way or a
10.)________________ might be waiting for me.
11.) _____________I suffered. Then Ita brought me home for a
visit as a gift for my graduation. How happy I was to home again! I was so
happy I didn't mind the hardships of the trek, I even forgot about the sawa.
But with Ita, really I feared nothing. He was the master of the jungle. He had
said once that he owned the vast tract of land from 12.) _________________ to
Santa Barbara, but that some parts of it were stolen by the outsiders.
I learned while in Santa Barbara, however that there was only
one 13.)______________. Our teacher, 14.)___________________, taught us that
this God was to be loved by all, not feared. The mountain people feared the
Magu, therefore the Magu must be a fake God. So I told 15.)
_________________ that the "Magu" was just another big tree, and when
finally the place would be accessible to the Christians, they would cut it.
Bal-og ran away from me in horror when I said that.

20
Let Us Enhance

DIRECTIONS. Write a reflection paper discussing the conflict experienced


by the boy in the story “I am one of the Mountain People”. Use the questions
below as your guide.

1. Was Ita Magdum right in his desire to have


the boy educated in a Christian school?
2. Is the conflict that the boy’s people suffering
in the story still existing today? Support your answer.
3. What advise can you give to the tribe of Ita
Magdum in order to ease their burden?
4. If you have the chance to help Ita Magdum’s
tribe, what are you going to do to help them resolve their struggles?

___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
___________________________________________________________________________
_____________________________________________________________________

Literary works play an important role in people’s lives. It


preserved the heritage, belief, and culture of the place or country of origin
that could somehow be shared to the new generation who enjoyed the fruit
of labor of the past generations. As an effect, the new generation would give
importance of the culture that their ancestors past on and will be going to
share the same beliefs and culture to the next generation.

In addition, literary works serve as an eye opener to the


society. It brought information to the people in the highest authority that

21
still there are group of people who need their help especially those who are
less privileged specifically under marginalized sector because the
government could hardly recognize them. Lucky those citizens whose local
government treat their residents equally. However, there are still provinces
in the Philippines that some of their inhabitants were forgotten particularly
those who lived in far-flung areas.

Moreover, I, you, we as co-citizens of those who are forgotten


should act upon and help them to reach their cry for an attention to be
noticed. The story that you have just read, may it be non-fiction or only
fictional work, talks about the reality. Have you heard the incident that was
happening mid-last year? Wherein the children of Mandaya’s tribe were
brought to Davao City by their teacher in a private school located at their
place, to conduct a protest to the government, without the permission of
their parents. Well, that is just an example of oppression that our fellow
men experienced. So, if you have the chance to help, do it. Take part for the
change that we long for to have, for our country.

How about you, what are your realizations? What is your


significant learning from the topic? What will you do differently due to this
new learning? Write a 2-3 paragraph essay using the guide questions
mentioned earlier.

22
References
23

BOOKS:
Rhodora S. Ranalan, Ph. D. (2016). 21st Century Literature from the
Philippines and the World: Voices in Diversity (Place published: Mega-TEXTS
Philippines, Inc, 2016), pages# 25-29
Zaide, Gregorio F. (1970). Jose Rizal: Life, Works and Writings. Manila:
Villanueva Book Store. Retrieved from
https://www.scribd.com/doc/26364271/Philippine-Literature-Pre-Spanish-
Period.

ONLINE TEXTS:
https://rachelpoli.com/2018/01/10/9-types-of-characters-in-fiction/
https://www.google.com/search?
q=elements+of+short+story&rlz=1C1CHZL_enPH842PH842&sxsrf=ALeKk032
6W1L-
kE4sQmUCbaHq_moCqMflg:1594466875436&source=lnms&tbm=isch&sa=
X&ved=2ahUKEwj-
rt39i8XqAhXHaN4KHaemCcAQ_AUoAXoECA8QAw&biw=1366&bih=625#im
grc=0Z7oOuZCymAUhM
https://courses.lumenlearning.com/sanjacinto-
englishcomp2kscope/chapter/reading-a-short-story/
https://americanliterature.com/all-about-the-short-story
https://literarydevices.net/fiction/
https://blog.reedsy.com/types-of-characters/
https://www.nownovel.com/blog/man-vs-self-story-conflict-types/
https://www.scribendi.com/academy/articles/types_of_conflict_in_literatur
e.en.html
https://www.google.com/search?
q=american+period+in+the+philippines&tbm=isch&ved

24

You might also like