Clariza 21st Lit.

Westbridge Institute of Technology Inc.
#1 Brgy. Banlic City of Cabuyao Laguna

Tel. No. (049) 544-1325/ (02) 425-7262/ 09214189321
[email protected]
Learning Module:
21st Century literature from the

Philippines and the World
Prepared by:
CLARIZA S. ACIDO, LPT

______________________
SHS-Teacher
21st Century Literature from the Philippines and the World

Learning Module Page1
Course Description: Study and appreciation of literature of the world originally written in
the 21st century.
II. Table of Contents
Module I- LITERARY HISTORY OF THE PHILIPPINES
Lesson 1 Various dimensions of Philippine literary history from pre-colonial to

contemporary.
Lesson 2 Philippine Folk Narratives: Myths, Epic, Legends, and Folktales
Lesson 3. Philippine Folk Lyric and Speech: Songs, Proverbs, and Riddles
Lesson 4. Philippine Literature under the Spanish Colonial Rule
Lesson 5 Philippine Literature under American and the Japanese Colonial Period
Lesson 6 Famous Filipino Writers and their Works
Lesson 7Philippine Literature during Martial Law and Post-EDSA Revolution
Lesson 8 21st Century Philippine Literature
Lesson 9 Philippine National Artists in Literature and Their Works
Module II UNDERSTANDING DIFFERENT GENRES
Lesson 1Poetry&Prose
Lesson 2 Creative Non-Fiction
Lesson 3 Drama
Lesson 4Various Kinds of Literary Genres
Module III –REGIONS IN LUZON, VISAYAS, MINDANAO
Lesson 1 Literary Texts from Luzon

Lesson 2 Literary Texts from Visayas
Lesson 3 Literary Texts from Mindanao
Module IV –LITERARY GENRES, TRADITIONS AND FORMS FROM DIFFERENT

NATIONAL LITERATURE
Lesson 1 American Literature

Lesson 2 Asian Litearture
Lesson 3 Japan Literature
Lesson 4 African Litearature

MODULE I
LITERARY HISTORY OF THE
PHILIPPINES
Learning Objectives:
 Identify the different literary forms during the pre-colonial period.
 Recognize the influences of the pre-colonial period in Philippine literature.
 Identify the various literary forms in the Spanish period.
 Determine the influences of the Spanish colonization on Philippine
literature.
 Identify the literary forms that emerged during American and Japanese
Colonial Period.
 Demonstrate understanding of the development of Philippine literature
during Martial Law and Post-EDSA revolution.
 Identify the significant contributions of various Philippine National Artists
for Literature.
 Explain the value of the contributions of these National Artists in the
development of Philippine literature.
LESSON I
PRECOLONIAL PHILIPPINES: A HISTORICAL OVERVIEW

Subtopic:
1. Mythological Age
2. Heroic Age
3. Folktales
4. Ancient Tagalog Deities
Pre-Activity 1:
Directions: Complete the first two columns below.
LITERARY HISTORY OF THE PHILIPPINES

What I KNOW? What I WANT to know?
1. 1.
2. 2.
3. 3.
Lesson Proper:
PRECOLONIAL PHILIPPINES: A HISTORICAL OVERVIEW
E. Arsenio Manuel, a literary scholar notable for his studies on Philippine folk
literature, divides pre-colonial literature into three, namely, the Mythological Age,
Heroic Age, and Folktales from all ages.
1. Mythological Age
 This is the period when our ancestors told stories about the
creation of human beings and the world, natural phenomena,
and deities and spirits.
2. Heroic Age
 In this period, the characters in stories evolved. Whereas
supreme beings and deities were the common subjects during
the Mythological Age, ordinary mortals and cultural heroes
became the chief subject matter in this period.
 Epics became a popular genre, and they were chanted during
important events in the community to inspire people. These
were also performed to remind the community of their ideals
and values.
3. Folktales
 Philippine folktales are traditional stories that had humans,
animals, and even plants as characters. These are fictional tales
that have been modified through successive retellings before
they were finally recorded and written down.
Most literary works during the precolonial period were passed down by
word of mouth. But in some cases, our ancestors were able to make use of a
writing system to pen down some works of literature.
 The writing system used by Filipinos during the precolonial
period is the baybayin. This was derived from Kavi, a Javanese
(Indonesian) script.
 To write, the early Filipinos used palm leaves or bamboo, which
they wrote on using knives as pens and sap from plants and
trees as ink.
 The ancient Tagalog script had seventeen basic syllables
composed of three vowels and fourteen consonants. The
vowels were a, e/i, and o/u. The consonants were ba, ka, da/ra,
ga, ha, la, ma, na, nga, pa, sa, ta, wa, and ya.
 The symbols used could be modified to present different vowel
sounds. This could be done with the use of the kudlit, which
may be a short line, a dot, or even an arrowhead placed at the
top or the bottom of the symbol being modified.
Important influences in literary texts during the pre-colonial period are the
following:
1. Climate
2. Source of income (fishing, farming, etc.)
3. Ideologies, distinct characteristics, and type of government
4. Religious beliefs
5. Geographical location
Ancient Tagalog Deities
Gods and Goddesses of Philippine Mythology
 Filipinos practiced worshipping gods and goddesses during the precolonial

period. This practice is known as animism, which is a belief that souls or
spirits exist in plants, animals, or objects. It comes from the Latin word
anima, which, according to psychologist Carl Jung, means a person’s
inner self or soul.
 In the Philippines, deities vary in different regions.
Ancient Tagalog Deities

• Kaluwalhatian is the term used to refer to the home of ancient Philippine
gods and goddesses.
1. Bathala or Bathalang Maykapal is the king of the gods in Tagalog
myths. He married a mortal, with which he had three children:
Apolaki (god of war and guardian of the sun), Mayari (goddess of the
moon), and Tala (goddess of the stars).
2. Apolaki and Mayari (or Adlaw and Bulan in Visayan) ruled the
earth at different times. This is because of a conflict between them
when Bathala died and he did not pass the title to any of his
children.
3. Tala is the goddess who warns Mayari that the sun god is gone and
that it is safe for her to come out along with the stars.
4. Amihan is believed to be a bird, which is said to be the first creature
that inhabited the earth. It is linked to the story of creation of the
Tagalogs.
5. The Marias
a. Maria Makiling is the diwata who guards Mount Makiling in
Laguna.
b. Maria Cacao is the guardian of Mount Lantoy in Cebu. Her realm
is the cacao plants, which are used by Filipinos for famous
chocolate delicacies.
c. Maria Sinukuan is the guardian of Mount Arayat in Pampanga.
She brings abundant harvests from trees in the mountain.
6. Bacunawa, or the “moon eater,” is the god of the underworld. Believed
to have an image of a serpent or dragon, he is the one responsible for
eclipses.
Post-Activity1:
Directions: : (Role play)
1.The teacher will divide the class into three.
2.Pick a certain topic that depicts some familiar folktales, myth and heroic stories
in Philippine literature.
3. Each group will be given 5-10 minutes to present their work.
CRITERIA FOR JUDGING

Content 20%
Poise and Gesture during the play 30%
Creativity and Originality 40%
Audience Impact 10%
TOTAL 100%
Post Activity 2:
I. Directions: Identify the following items.
_____ 1. Traditional stories that had humans, animals, and even plants as
characters.
______ 2. This is the period when our ancestors told stories about the creation of
human beings and the world, natural phenomena, and deities and spirits.
______ 3. In this period, the characters in stories evolved.
______ 4. It is the term used to refer to the home of ancient Philippine gods and
goddesses.
______ 5. It is the writing system used by Filipinos during the precolonial period.
Post Activity 3:
Directions: Enumerate the six (6 ) Ancient Tagalog Deities and

give a brief description about them.
References:
Baritugo, Mercedita R., Reynaldo G. Caranguian, Angelita C.

Punzalan, and Ernesto Thaddeus M. Solmerano. 2007. Philippine
Literature: An Introduction to Poetry, Fiction, and Drama. Manila:
FEU Publications.
Kahayon, Alicia H., Magdalena P. Limdico, Erlinda M. Santiago. 2010. Panitikang

Filipino: Kasaysayan at Pag-unlad. Mandaluyong City: National Book Store, Inc.
Lorenzo, Carmelita S., Rosario U. Mag-atas, Gloria P. San Juan, Corazon P. San
Juan, Zenaida S. De Leon, Marianne C. Ortiz, and Randy D. Sagun. 2012.
Literaturang Pilipino Tekstong Pangkolehiyo. Quezon City: National Book Store,
Inc.
LESSON II
PHILIPPINE FOLK NARRATIVES: MYTHS, EPICS, LEGENDS,

AND FOLKTALES
Pre-Activity 1:
What are the difference between Folktales and Epic? Myths and Legends?
Lesson Proper:
Philippine Folk Narratives: Myths, Epics, Legends, and Folktales
Narratives such as folktales and legends were created to explain natural

phenomena and the origin of things long before science came to be known.
A. Myths

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These are stories that make use of gods, goddesses, and other fantastical
creatures as characters. These became a means for our ancestors to explain the
occurrence of supernatural events, the beginning of cultural traditions, and the
existence of mysteries. A myth may also attempt to explain how the world began
or how a group of people originated.
The Creation (Tagalog)
When the world first began, there was no land—there were only the sea
and the sky, and between them is a crow. One day, the bird, which had nowhere
to land, grew tired of flying around, so she stirred up the seas until it threw its
waters against the sky. The sky, in order to restrain the sea, showered upon it
many rocks, forming islands until the sea could no longer rise but instead flow
back and forth, making tides. Then the sky ordered the crow to land on one of the
islands to build her nest and to leave the sea and sky in peace.
Now at this time, the land breeze and the sea breeze were married, and
they had a child, which was a bamboo plant. One day when the bamboo was
floating about on the water, it struck the feet of the crow, who was on the beach.
The bird, angry that anything should strike her, pecked at the bamboo, and out of
one section came a man and from the other a woman.
Then the earthquake called on all the birds and fish to see what should be
done with the man and woman, and it was decided that they should marry. Many
children were born to the couple, and from them came all the different races of
people.
After a while, the parents grew very tired of having so many idle, useless
children around. They wished to get rid of them, but they knew of no place to
send them. Time went on, and the children became so numerous that the
parents enjoyed no peace. One day, in desperation, the father seized a stick and
began beating them.
The children became frightened and began to hide. Now it happened that
those who went into the hidden rooms of the house later became the chiefs of
the islands, and those who concealed themselves in the walls became slaves,
while those who ran outside were free men. Those who hid in the stove became
dark-skinned people. Those who fled to the sea were gone many years, and
when their children came back, their skins were white.
B. Epics
An epic is a long narrative poem that describes the adventures of a hero,
warrior, god, or king. It is influenced by the traditions, culture, beliefs, moral code,
and attitudes of the people who created it. The characteristics of a classical epic
include the following:

• The main character or protagonist of the story is considered a hero.
• The hero’s actions are presented without bias; the epic presents both the
character’s faults and virtues.
• Epics often involve battles, which reveal the extraordinary strength of the
protagonist as he engages in acts of bravery.
• The setting may span several countries, involve the whole world, or even be set
in the universe.
• Gods and other divine beings are portrayed as having a role in the outcome of
events.
Examples of these epics include:
1. Hinilawod (Panay)—This is considered as the oldest and longest among the

epics of Panay. It narrates the adventures of three brothers, Humadapnin,
Dumalapdap, and Labaw Dingin.
With care we shall tell, accurately we shall relate

The story of the three princes who were born
To goddess Alunsina of the Eastern Skies!
Strangely, before the mother could open her eyes
The first boy born became a mature man to her surprise
And she called him Labaw Dingin, radiant as the sunrise!
Absoy-y-y-y-y-y-y-y—
Then followed the birth of Prince Humadapnin
Who immediately became a man, a handsome prince
A mighty warrior, the kingdom has ever seen!
And before the marvelous mother could have a sigh
Came the third son, Dumalapdap, who likewise
Became a man, stately in mien-like a cloudless sky!
2. Ibalon (Bicol)—Somehow similar to Hinilawod, this epic is about three

brothers: Baltog, Bantiong, and Handiong.
3. Hudhud (Ifugao)—This epic tells about the lives of native Ifugao heroes, the
most notable of which is Aliguyon of the village Gonhandan. Aliguyon was
endowed with supernatural powers and boundless energy. He has the ability to
travel long distances without needing food and rest. Upon arriving at his
destination, he still has the same energy as he did when he started his journey.
Aliguyon was invincible in battle; he could catch spears in mid-flight and could
fight against many combatants.
4. Darangan (Muslim)—This epic is about the sentimental and romantic

adventures of noble Maranao warriors; the most famous is about a warrior/prince
named Bantugan. Prince Bantugan was the brother of the chieftain of a village
called Bumbaran. Bantugan owned a magic shield, was protected by divine
spirits, and was capable of rising from the dead.

5. Biag ni Lam-Ang (Ilocos)—This is an epic that tells the story of Lam-Ang, who
exhibits extraordinary abilities even in his early years.
C. Legends
• Believed to be historical but cannot be verified as true, legends are stories
handed down through generations. These stories are often about famous
persons or events.
• These may tell of an encounter with marvelous creatures, which the folks still
believe in: fairies, ghosts, water spirits, the devil, and the like.
The Legend of Maria Makiling (Tagalog)
(Some of the contents of this version may have been influenced by the
Spaniards, as evidenced by the characters and series of events.)
Once upon a time, a diwata lived in a mountain of Laguna. She was called
Maria Makiling. She has light olive skin, long shining black hair, and twinkling
eyes. She was breathtakingly beautiful. Maria was always about, helping other
people. One time, the children of a farmer got sick. When he went to Maria to
seek help, he was given a bilao full of ginger. The farmer sadly went home
carrying the bilao. When he reached his hut,he was greatly surprised. The ginger
had turned to gold! Because of Maria’s kindness, the townsfolk had grown to love
her.
Maria was a great beauty. She was sought after and wooed by many
suitors. Three of them were very much determined to have her. One is Captain
Lara, a Spanish soldier who always brought her gifts from Europe. The other is
Joselito, a Spanish mestizo who was studying in Manila. Every time Joselito
visits Maria, he had many stories to tell her about foreign countries and the things
that he had read in books. He dreamed of going to Spain. He didn’t like to live in
the Philippines. Of the three, it was Juan who is the most industrious. He is a
common farmer. But he is so hardworking, and his fruits and vegetables grew fat
and juicy. He also had many pet animals and birds. But if truth be told, it was
Juan who Maria secretly admired. As time passed, her suitors became more and
more impatient and demanded that Maria tell them who she loves. So the diwata
was forced to promise, “By the night of the full moon, I will tell you my answer.”
When the night of the full moon arrived, all of her suitors climbed up the
mountain to know her decision. All was startled when Maria told them that it was
Juan whom she loved. The suitors went away feeling dejected. On the other
hand, Joselito and Captain Lara were very much angry with Juan. They thought
of a plan against him.
One day, all was surprised when a huge fire devoured the cuartel of the
Spanish. Because of the fire, Captain Lara ordered many Filipinos to be
captured. Secretly, Joselito helped him. Juan was among those who they
imprisoned and tortured.
Many prisoners did not last long from the tortures the Spanish had inflicted
upon them. One night, Captain Lara and Joselito secretly spoke with the
prisoners. The next day, Juan was blamed for the burning of the Spanish cuartel.
“I did not do it!” cried Juan. But the prisoners pointed at him because Captain
Lara and Joselito threatened them.
The soldiers brought Juan to the plaza. In front of hundreds of people,

Juan was shot as the enemy of the Spaniards. He was killed even though he did
not commit the crime. But before he died, he managed to shout out loud Maria’s
name. It was heard by the diwata, so she quickly went down her mountain.
But Juan was already dead when Maria arrived. With tears falling down
her face, she tightly embraced his lifeless body. Afterwards, she faced the crowd.
“Why did you not take care of him?” she shouted.
Meanwhile, Captain Lara and Joselito fled to Manila because they were afraid of
Maria. When she learned of this, she cursed the two. She also cursed those men
who cannot accept failure in love. Soon, the curse took effect. Joselito suddenly
became ill. There was no cure.
Captain Lara, on the other hand, was called back to Laguna when the
Filipinos revolted against the abuse that the Spaniards had inflicted upon them.
The revolution quickly spread to many parts of the Philippines. The revolutionary
Filipinos killed Captain Lara.
From then on, Maria never let herself be seen by the people. Every time
somebody got lost on the mountain, they remember the curse of the diwata. They
remember the great love of Maria Makiling.
D. Folktales
Folktales are prose narratives usually told to amuse or entertain. These are also
instructional in nature, dealing with events set in an indefinite time and space.
Examples of folktales are animal tales or fables and magical tales such as “Ang
Pagong at ang Matsing” and “Ang Alamat ng Pinya.”
Post-Activity 1:
Directions: Answer the following questions.

1. What is your idea about the creation of the world according to the story?
2. Do you believe that Maria Makiling is real?
Post Activity 2:
Directions: Identify the following items.
____ 1. This is considered as the oldest and longest among the epics of Panay.
____ 2. It is a long narrative poem that describes the adventures of a hero,

warrior, god, or king.
____ 3. This epic is about the sentimental and romantic adventures of noble
Maranao warriors
____ 4. Prose narratives usually told to amuse or entertain.
____ 5. These are stories that make use of gods, goddesses, and other
fantastical creatures as characters.
References:
(Source: http://www.seasite.niu.edu/tagalog/folktales/Tagalog/creation_story.htm)
(Source: aboutphilippines.ph/files/The-Legend-of-Maria-Makiling.pdf)
Manuel, E. Arsenio. 2007. Filipino Myths and Folktales Treasury Stories. Pasig
City: Anvil Publishing, Inc.
LESSON III

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WPHILIPPINE FOLK LYRIC AND SPEECH: SONGS, PROVERBS,
Pre-Activity 1:
AND RIDDLES
Directions: Complete the graphic organizer below.
Lesson Proper:
Philippine Folk Lyric and Speech: Songs, Proverbs, and Riddles
The base form of Philippine folk lyric and speech is poetry. Poetry is a
form of literature that emphasizes rhythm, metrical structure, and the use of
imagery and sound patterns. Poetry is organized in stanzas, which are groups of
consecutive lines in a poem, with each stanza forming a single unit.
A. FolkSongs
Doon Po Sa Amin
Doon po sa amin
Learning Module
Leron, Leron Sinta
Leron, Leron sinta

Page14
Bayan ng San Roque Buko ng papaya
May nagkatuwaang Dala dala’y buslo
Apat na pulubi. Sisidlan ng bunga
Nagsayaw ang pilay, Pagdating sa dulo
Kumanta ang pipi, Nabali ang sanga
Nanood ang bulag, Kapos kapalaran
Nakinig ang bingi. Humanap ng iba.
Folk songs are repetitive and sonorous and have a playful melody. They
may be about love and courtship, a long day’s work, or may be songs sung at a
funeral.
B. Proverbs (salawikain)
Proverbs are short sayings enveloped in rhymed verse that are meant to
give advice to the young, offering words of wisdom or stating how one should
live.
Examples:
Huwag magbilang ng sisiw

hanggang di pa napipisa ang itlog.
(Don’t count chicks until the eggs are hatched.)
Matibay ang walis,

palibhasa’y magkabigkis.
(A broom is sturdy because its strands are tightly bound.)
Hangga’t makitid ang kumot,

matutong mamaluktot.
(While the blanket is short, learn how to bend.)
C. Riddles (bugtong)

Riddles are perplexing questions meant to be guessed or solved. These are used
for entertainment, and they require one to observe, analyze, and imagine to
provide the right answer.
Examples:
Answer:
Nagtago si Pedro
Nakalitaw ang ulo Pako
(Pedro hides, but you (Nail)
can still see his head.)
Ako ay may kaibigan,

kasama ko kahit saan. Anino
(I have a friend who is (Shadow)
with me everywhere I go)
Heto na si Kaka,
BuBuka-bukaka. Gunting
(Here comes Kaka, (Scissors)
walking with his legs
wide apart.)
Post-Activity 1:
1. Form a group with 5 or more members.
2. Choose two or more folk songs and make a medley.
You can use any musical instruments or mp3 to accompany your medley.
3. Your presentation should not be longer than five minutes.
Rubrics for Scoring

Originality 30%
Teamwork 20%
Sound and Rhythm 30%
Overall Presentation 20%
Total 100%
Post-Activity 2:
1. Name five Philippine folksongs.

2. Give 5 examples of proverbs.
3. Give 5 examples of riddles.
Reference:

Lorenzo, Carmelita S., Rosario U. Mag-atas, Gloria P. San Juan, Corazon P. San
Juan, Zenaida S. De Leon, Marianne C. Ortiz, and Randy D. Sagun. 2012.
Literaturang Pilipino Tekstong Pangkolehiyo. Quezon City: National Book Store,
Inc.
https://owlcation.com/social-sciences/examples-of-filipino-proverbs
LESSON IV
PHILIPPINE LITERATURE UNDER THE SPANISH COLONIAL

RULE
Subtopic:
Development of Poetry during the Spanish Colonization
Pre-Activity 1:
Directions: Give your insight about the following pictures.
1. Pasyon
2. Novenas
3. Senakulo
4. Flores de Mayo
Lesson Proper:
Philippine Literature under the Spanish Colonial Rule
The Spaniards colonized the Philippines for more than 300 years. During
that time, literature was greatly influenced by the Spaniards, and new literary
forms emerged.
I. The Spanish Colonial Period

• On March 31, 1521, the Portuguese explorer Ferdinand Magellan arrived
in Philippine soil. He landed in Limasawa, an island in Southern Leyte,
and it was also there that the first Catholic mass in the country was
celebrated.
• On April 14, 1521, after reaching the island of Cebu, Fr. Pedro
Valderrama baptized more than 500 natives along with Raja Humabon.
• Ruy López de Villalobos named the archipelago Las Islas Filipinas, in
honor of Prince Philip II of Asturias, who became the king of Spain from
1556 to 1598.

• In 1565, King Philip II of Spain officially colonized the country and
assigned the new expedition to Gobernador Heneral Miguel López de
Legazpi. Six years later, he established his capital in Manila, a location
that offered the harbor of Manila Bay, a large population, and proximity
to the ample food supplies of the Central Luzon rice lands.
• Spain had two motives in colonizing the Philippines:
1. Spice trade
More valuable than gold, spices were the leading component of
ancient commerce even before the 15th century. Spain, along with
other European countries, funded expeditions in search for
cinnamon, clove, ginger, turmeric, and other priced commodities.
2. Converting Filipinos to Christianity
The Spaniards used a policy called reduccion, which is a means of
relocation of scattered settlements to a large town. This way, Spanish friars
were able to convert natives into Christianity.
• The 333-year Spanish colonization ended with outbreaks of revolution
and the rise of independence. The Propaganda Movement, led by
ilustrados (elite Filipinos who went to Europe to study) along with Andres
Bonifacio and Emilio Aguinaldo, demanded independence from Spain.
• On June 12, 1898, General Emilio Aguinaldo proclaimed the
independence of the Philippines from the Spanish colonial rule in his
home in Kawit, Cavite. This freedom, however, was short lived because of
the arrival of the Americans in the land.
II. Development of Poetry during the Spanish Colonization
• Philippine literature during the Spanish colonial period was mainly dominated by
religious and secular themes.
• If Philippine poems during the precolonial period highlight epics, riddles, folk
songs, and proverbs that depict spiritual beliefs and everyday lives of natives,
poetry under the Spanish colonial period focused on religion and values, which
became instruments in spreading Christianity and Spanish-oriented culture.
• A ladino poem is a bilingual poem characterized by alternating lines or verses
in Tagalog and Spanish with religious themes.
• In Spain, complimentary verses, usually a poem in sonnet form appeared in
books to encourage people to read it. In the Philippines, a book entitled Memorial
de la vida Cristiana en lengua Tagala (Guidelines for the Christian Life in the
Tagalog Language) by Fr. Francisco Blancas de San Jose included a ladino or
bilingual complimentary poem written by Francisco Bagongbanta known by its
first line “Salamat nang walang hangga” (“Unending thanks”).
Salamat nang walang hanga

gracias se den sempiternas,
sa nagpasilang ng tala
al que hizo salir la estrella:
macapagpanao nang dilim
que destierre las tinieblas
sa lahat na bayan natin
de toda esta nuestra tierra.
• Another complimentary poem called “Dalit na Pamucao sa Tauong Babasa

Nitong Libro” (“Song to Awaken the Reader of this Book”) was written by Felipe
de Jesus, which is a Tagalog version of the legend Barlaan and Josaphat by Fr.
Antonio de Borja.
• Poetic forms that emerged during the Spanish colonial period include:
A. Pasyon
This is a narrative poem about the passion, death, and resurrection
of Jesus Christ. It consists of five-line stanzas with eight syllables per
line. The earliest known pasyon is the Ang Mahal na Pasión ni Jesu
Christong Panginoon natin na Tola in 1704.
B. Awit and Kurido
• An awit is a narrative poem that consists of 12 syllables per line and
four lines per stanza. The rhythm is slow and is usually
accompanied by the use of a guitar or bandurya. It expresses
adoration of the Blessed Virgin Mary, platonic, and courtly love. A
famous example of an awit is Francisco Balagtas’s Florante at
Laura.
• A kurido is another narrative poem that consists of eight syllables
per line and four lines per stanza. The rhythm is faster compared
with that of an awit. An example of a kurido is Ibong Adarna,
which contains 1,722 stanzas and has five parts.
C. Dalit
This is a religious poem in honor of the Blessed Virgin Mary.
III. Development of Prose during the Spanish Colonization
• During the precolonial period, natives created stories about the supernatural,
creatures, spirits, deities, and even the origin of things. But during the Spanish
colonization, Spanish friars attempted to eliminate these stories and replaced
them with religious ones to convert natives to Christianity.
• Spanish missionaries published meditations, translations, and studies on the
Philippine languages.
• In 1593, a prayer book called the Doctrina Christiana en lengua Española y
tagala (Christian Doctrine in the Spanish and Tagalog Languages) was one of
the first books printed in the Philippines.
• Spanish friars also made an attempt to learn the different languages in the
Philippines to communicate with the natives. The first book explaining the
principles of the Tagalog language was Arte y reglas de la lengua tagala (The Art
and Rules of the Tagalog Language).
• Tomas Pinpin’s Librong Pagaaralan nang manga Tagalog nang Uicang Castilla
(A Book for the Tagalog to Study the Spanish Language) was the first published

work by a Filipino and contains a preface that is probably the first essay written
by a Filipino.
• Prose forms that emerged during the Spanish colonial rule include:
A. Anecdotes
• These are short and amusing stories that contain lessons in life. Priests
often use anecdotes as part of their sermons.
• An example of an anecdote is the Tagalog translation and adaptation of
Daniel Defoe’s Robinson Crusoe entitled Ang Bagong Robinson,
Historiang Nagtuturo nang Mabuting Caugalian, na Guinauang Tanungan
(The New Robinson, a Story That Teaches Good Conduct, Done in Primer
Form) by Joaquin Tuason.
B. Planticas (Sermons)
• These are lectures presented by Spanish priests that dealt with religious,
biblical, and moral topics.
• In 1864, Padre Modesto de Castro compiled 25 of his sermons in
Planticas Doctrinales (Sermons on Doctrines).
C. Novenas
• These are a series of prayers repeated for nine consecutive days and
are usually prayers for petition and thanksgiving.
D. Novels
• Novels are long narrative stories, usually with fictional characters and
with a sequence of events divided into chapters. Examples of novels
during the Spanish colonial period include Pedro Paterno’s Ninay
(considered the first Filipino novel), Padre Modesto de Castro’s Urbana at
Feliza, Padre Miguel Lucio y Bustamante’s Si Tandang Basio Macunat,
and Jose Rizal’s Noli Me Tangere and El Filibusterismo.
E. Essays
• These are personal pieces of writing that uses the point of view of the
writer. One of the most important essays during this period is “Ang Dapat
Mabatid ng mga Tagalog” by Andres Bonifacio. It was published in the
newspaper Kalayaan.
IV. Influences of the Spanish Colonization on Philippine Literature
• Spanish priests believe that stories about mythical creatures, spirits, deities,
and rituals contain works of the devil, which is why they instructed the natives to
burn them. They also told them to undergo baptism and embrace Christianity.
• The Spanish culture became highly noticeable with the use of characters similar
to kings and queens, and princes and princesses. For example, in Ibong Adarna,
characters were addressed as Don and Donya. Even the setting is influenced by
European culture.
• Members of the Reform Movement led by Jose Rizal (Dimasalang, Laong
Laan), Marcelo H. del Pilar (Plaridel), and Mariano Ponce (Tikbalang, Kalipulako)
wrote for La Solidaridad, whereas revolutionaries Andres Bonifacio (May Pag-
asa) and Emilio Jacinto (Dimasilaw) wrote for Kalayaan. These newspapers

contributed to secular writings in this period and ignited the desire of the Filipinos
to be free from Spain.
• Types of drama that emerged during the Spanish colonial period include:
1. Karagatan -It is a form of poetic contest usually played as part of the rites held
in connection with the death of a person. It is based on a legend about a lady’s
ring that fell in the middle of the sea. The lady’s hand is offered in marriage as a
reward to any young man who could retrieve the ring.
2. Duplo -It is another poetic contest held when a person dies or during the
wake. Duplo consists of puns, jokes, and riddles in the vernacular to relieve
sadness.
3. Senakulo -It is a play that portrays the life, passion, and crucifixion of Jesus
Christ.
4. Flores de Mayo -Also known as tibag, it tells about how Reyna Elena and her
son Constantino searched for Jesus’s cross in Mount Calvary.
5. Moriones -It is a festival in celebration of the life of Saint Longinus. Saint
Longinus was a blind Roman soldier tasked to drive a spear through Jesus to
make sure he was dead. A miracle happened when Jesus’s blood touched him.
He regained his eyesight and converted to Christianity. Because of this change
of faith, Saint Longinus was beheaded as ordered by Pontius Pilate.
6. Moro-moro -It is a play written about the capture of a Christian Filipino army.
In 1637, Gran Comedia de la Toma del Pueblo de Corralat y Conquista del Cerro
written by Padre Geronimo Perez was the first moro-moro performed in Manila.
7. Sarswela -It is a play with songs and dances with up to five acts, portraying
the whimsies of romantic love.
Post-Activity 1
Instruction: Create a role play showing the following:
Group 1: Senakulo
Group 2: Flores de Mayo
Group 3: Sarswela
Group 4: Mor-Moro
Rubrics for Scoring

Creativity 35%
Presentation 25%
Teamwork 20%
Time Management 10%
Yell 10%
Total 100%

Post Activity 2
Directions: Complete the graphic organizer below.
Philippine Literature under the

Spanish Colonial Rule
Prose Forms Poetic Forms Drama
1. 1. 1.
2. 2. 2.
3. 3. 3.
4. 4.
5. 5.
6.
References:
Aguilar, Celedonio G. 2000. Readings in Philippine Literature. Manila: Rex

Bookstore.
Bernad, Miguel A. 1998. The King’s Phrase: Some Philippine Literary and
Cultural Perspectives. Quezon City: Ateneo De Manila University.
Eugenio, Damiana. 1982. Philippine Folk Literature: An Anthology. Quezon City:

University of the Philippines Press.
Macansantos, Francis C., and Priscilla S. Macansantos. “Philippine Literature in

the Spanish Colonial Period.” National Commission for Culture and the Arts. Last

modified April 14, 2015. http://ncca.gov.ph/subcommissions/subcommission-on-
the-arts- sca/literary-arts/ philippine-literature-in-the-spanish-colonial-period/.
LESSON V
Philippine Literature under the American Colonial

Period and the Japanese Colonial Period
Pre-Activity1:
What are the influences of the Americans and the Japanese to Filipino people?
Americans Japanese
1. 1.
2. 2.
3. 3.
4. 4.
5. 5.
Lesson Proper:
I. Literature under the US Colonial Period: An Overview

Treaty of Paris—On April 11, 1899, an agreement was signed by John Hay, the
US Secretary of State, after the Spanish–American War. In this agreement,
Spain surrendered the remaining Spanish empire, Cuba, Puerto Rico, Guam,
and the Philippines to the United States, which also involved a payment of 20
million dollars to Spain.
• The Spanish language is still dominant among Filipinos.
• Education was first headed by American soldiers. In 1901, around 600 teachers
who arrived onboard the ship USS Thomas replaced the soldiers.
• Ironically, a great portion of Spanish literature written by Filipinos emerged
during the American Commonwealth period.
• Newspapers like El Tiempo, El Pueblo de Iloilo, La Vanguardia, La Democracia,
and El Renacimiento were published in Spanish.

• Other newspapers and magazines helped with the boost of the English
language in thePhilippines. Some of these were The Manila Times, Manila Daily
Bulletin, Cable News,The Independent, Philippines Free Press, Philippine
Review, The Philippine Herald, TheManila Tribune, and the Graphic, among
others.
• Tagalog drama also transformed from merely a form of entertainment to an
expression of revolt against the Americans.
• Famous playwrights were Juan Abad (Tanikalang Guinto), Juan Matapang Cruz
(Hindi Aco Patay), Aurelio Tolentino (Kahapon, Ngayon, at Bukas), Severino
Reyes (Walang Sugat),Julian Cruz Balmaceda (Sa Bunganga ng Pating), and
Precioso Palma (Paglipas ng Dilim).
• Sarswela, a musical famous during the 1920s up to the 1930s, later became
written ni English by Filipino playwrights Wilfrido Ma. Guerrero (Three Rats) and
Alberto Florentino (The World is an Apple).
• Famous Spanish-language writers or poets during this period were Claro M.
Recto (Bajo los Cocoteros), Antonio M. Abad (El Ultimo Romantico), and Jesus
Balmori (Mi Casa de Nipa)among many others.
• School publications also emerged during this period such as The Filipino
Students’ Magazine, UP College Folio, The Coconut of the Manila High School,
and The Torch of the Philippine Normal School.
• Famous short stories in English emerged like “Dead Stars” (Paz Marquez-
Benitez),
“Footnote to Youth” (José Garcia Villa), and “How My Brother Leon Brought
Home a Wife” (Manuel Arguilla).
• Comics started appearing on magazines as a series like Si Kiko at Angge in
Telembang. Others were satirical editorial cartoons like in Lipang Kalabaw, a
Tagalog magazine owned by Lope K. Santos. Album ng mga Kabalbalan ni
Kenkoy also appeared in the entertainment section of the magazine Liwayway.
II. Philippine Literature under the Japanese Colonial Period

• During World War II, the Philippines were colonized by the Japanese from 1941
to 1945. It all began when Japan bombed Pearl Harbor in Hawaii on December
8, 1941.
• With the rising tension between Japan and the United States, President Manuel
L. Quezon and Douglas MacArthur fled to the United States. But before leaving,
MacArthur left a promise to the Filipino people, “I shall return,” which is popular
up to this day.
• Meanwhile, the Japanese ordered that the misa de gallo (simbang gabi) be
suspended for the first time on Christmas of 1941.
• Under the Japanese rule came the Fall of Bataan and the Death March, which
killed thousands of Filipinos and Americans.
• The Mickey Mouse money became the national currency. It is practically
invaluable, more or less like play money.
• HUKBALAHAP or Hukbong Bayan Laban sa Hapon was a group of Filipinos
who fought against the Japanese. However, there were also Filipino spies known
as the Makapili. These people were known to cover their heads with bayong to
conceal their faces.
• As promised, Douglas MacArthur came back in Leyte in 1944 and fought for our
country once more.
• Victory over Japan Day (V-J Day, 1945) was declared after Japan surrendered
to the United States on August 15, 1945.
• Lastly, there came the Inauguration of the First Philippine Republic on July 4,
1946.
• Without Seeing the Dawn, a novel written by Stevan Javellana, was published
in the United States in 1947. It depicts the experiences of Filipinos during the war
between the Americans and the Japanese. This novel was later on adapted into
a movie entitled Santiago!, directed by Lino Brocka, which stars Fernando Poe
Jr. and Hilda Coronel.
• Among the most gruesome stories during the war was about comfort women,
and among them was María Rosa Henson or Nana Rosa as she was fondly
known. She wrote an autobiography Comfort Woman: Slave of Destiny, which
was published in 1996.
• Some famous Filipino writers who lived during this period are Bienvenido
Santos (Scent of Apples), Marcelo Agana, Jr. (New Yorker in Tondo), and Nick
Joaquin (“The SummerSolstice”).
Excerpt from “The Summer Solstice” by Nick Joaquin
This was the time when our young men were all going to Europe and bringing
back with them, not the Age of Victoria, but the Age of Byron. The young Guido
knew nothing of Darwin and evolution; he knew everything about Napoleon and
the Revolution. When DoñaLupeng expressed surprise at his presence that
morning in the St. John’s crowd, he laughed in her face.
“But I adore these old fiestas of ours! They are so romantic! Last night, do
you know,we walked all the way through the woods, I and some boys, to see the
procession of the Tadtarin.”
“And was that romantic too?” asked Doña Lupeng.
“It was weird. It made my flesh crawl. All those women in such a mystic
frenzy! And shewho was the Tadtarin last night—she was a figure right out of a
flamenco!”
“I fear to disenchant you, Guido—but that woman happens to be our
cook.”
“She is beautiful.”
“Our Amada beautiful? But she is old and fat!”
“She is beautiful—as that old tree you are leaning on is beautiful,” calmly
insisted theyoung man, mocking her with his eyes.
They were out in the buzzing orchard, among the ripe mangoes; Doña
Lupeng seated onthe grass, her legs tucked beneath her, and the young man
sprawled flat on his belly, gazing up at her, his face moist with sweat. The
children were chasing dragonflies. The sun stood still in the west. The long day

refused to end. From the house came the sudden roaring laughter of men playing
cards.
“Beautiful! Romantic! Adorable! Are those the only words you learned in
Europe?” criedDoña Lupeng, feeling very annoyed with this young man whose
eyes adored her one moment and mocked her next.
“Ah, I also learned to open my eyes over there—to see the holiness and
the mystery ofwhat is vulgar.”
“And what is so holy and mysterious about—about the Tadtarin, for
instance?”
“I do not know. I can only feel it. And it frightens me. Those rituals come to us
from theearliest dawn of the world. And the dominant figure is not the male but
the female.”
“But they are in honor of St. John.”
“What has your St. John to do with them? Those women worship a more
ancient lord.Why, do you know that no man may join those rites unless he first
puts on some article of women’s apparel and—”
“And what did you put on, Guido?”
“How sharp you are! Oh, I made such love to a toothless old hag there
that she pulled off her stocking for me. And I pulled it on, over my arm, like a
glove. How your husband would have despised me!”
“But what on earth does it mean?”
“I think it is to remind us men that once upon a time you women were
supreme and we men were the slaves.”
“But surely there have always been kings?”
“Oh, no. The queen came before the king, and the priestess before the
priest, and the moon before the sun.”
“The moon?”
“—who is the Lord of the women.”
“Why?”
“Because the tides of women, like the tides of the sea, are tides of the
moon. Because the first blood—But what is the matter, Lupe? Oh, have I
offended you?”
“Is this how they talk to decent women in Europe?”
“They do not talk to women, they pray to them—as men did in the dawn of
the world.”
“Oh, you are mad! mad!”
“Why are you so afraid, Lupe?”
“I afraid? And of whom? My dear boy, you still have your mother’s milk in
your mouth. Ionly wish you to remember that I am a married woman.”
“I remember that you are a woman, yes. A beautiful woman. And why not?
Did you turn into some dreadful monster when you married? Did you stop being a
woman? Did you stopbeing beautiful? Then why should my eyes not tell you
what you are—just because you are married?”
“Ah, this is too much now!” cried Doña Lupeng, and she rose to her feet.
“Do not go, I implore you! Have pity on me!”

p
L
a
ñ
D
f
l
e
b
s
'
d
i
G
g
n
u
o
y “No more of your comedy, Guido! And besides—where have those
children gone to! Imust go after them.”
As she lifted her skirts to walk away, the young man, propping up his
elbows, draggedhimself forward on the ground and solemnly kissed the tips of
her shoes. She stared down in sudden horror, transfixed—and he felt her violent
shudder. She backed away slowly, still staring; then turned and fled toward the
house.
On the way home that evening Don Paeng noticed that his wife was in a
mood. Theywere alone in the carriage: the children were staying overnight at
their grandfather’s. The heat had not subsided. It was heat without gradations:
that knew no twilights and no dawns; that was still there, after the sun had set;
that would be there already, before the sun had risen.
“Has young Guido been annoying you?” asked Don Paeng.
One of the story’s themes is the contrast between Christian beliefs and pagan
rituals.
Post-Activity 1:
What are the contrasting beliefs of young Guido and Doña Lupeng in the story?
Post-Activity 2:
Questions:
1. What was the agreement signed by John Hay after the Spanish–American
War?
2. According to Nick Joaquin’s “The Summer Solstice,” what is the Tadtarin?
3. What was the most gruesome struggle that occurred during the Japanese
colonial period that concerns women? Who wrote an autobiography which
describes what she experienced along with other girls her age?
References:
Baritugo, Mercedita R., Reynaldo G. Caranguian, Angelita C. Punsalan, and
Ernesto Thaddeus M. Solmerano. 2007. Philippine Literature: An Introduction to
Poetry, Fiction and Drama. Manila: FEU Publications.
Lumbera, Bienvenido and Cynthia Nograles Lumbera. 2000. Philippine

Literature: A History and Anthology. Manila: Anvil Publishing.
LESSON VI
FAMOUS FILIPINO WRITERS AND THEIR WORKS
Pre-Activity:1
Questions:
 Do you still read a Tagalog pocketbook?

 What is the title of the book that you have read previously?
 Who is your favorite Filipino author?
Pre-Activity:2
Directions: Give 5 characteristics about a writer.
WRITER
Lesson Proper:
Famous Filipino Writers Who Wrote in Tagalog and their Works
A. Juan Abad
• He was born in Sampaloc, Manila on February 8, 1872.
• He wrote his first play, Senos de Mala Fortuna, at the age of 16.
• He founded three newspapers as a sign of revolt against the Americans:
Republicang Tagalog, which he founded with Emilio S. Reyes; Laon-Laan, which

caused hisimprisonment for a month; and Dimas-Alang, which is dedicated to
Filipino workers.
• He was imprisoned for 2 years and fined $2000 for his play Tanikalang Guinto.
It was a symbolic play encouraging Filipinos to rebel against the Americans.
Tanikalang Guinto
Characters:
K’Ulayaw—symbolizes revolution
Liwanag—symbolizes love for one’s country
Maimbot—symbolizes the Americans
Dalita—Inang Bayan Nagtapon—
symbolizes Filipino traitors
The play is about lovers K’Ulayaw and Liwanag who are planning to get married.
However, Maimbot does not agree with this union. So Maimbot, along with
Nagtapon, decided to convince Liwanag to cancel the wedding and gave her a
chain of gold (tanikalang guinto). In the end, K’Ulayaw was killed in the hands of
Nagtapon. Liwanag attempted to kill herself, too, but she was saved by Diwa.
B. Aurelio Tolentino
• He was born in Guagua, Pampanga on October 13, 1867.
• He obtained a bachelor of arts degree at Colegio de San Juan de Letran and
took up law at the University of Santo Tomas. He stopped schooling when his
father died.
• He helped in the printing and distribution of the newspaper La Solidaridad.
• He became acquainted with Andres Bonifacio, and was imprisoned for 9
months duringthe 1896 revolution.
• He also affixed his signature as among the witnesses who signed the
Declaration of
Philippine Independence in Kawit, Cavite on June 12, 1898.
• He became known as the Father of Tagalog Drama for his play Kahapon,
Ngayon, at Bukas.
• He also founded El Parnaso Filipino, a school that promotes Tagalog literature.
• Below is an excerpt from Aurelio Tolentino’s Dakilang Asal.
VII. Sa Mga Piging
Kung mapithaya ka sa alin mang piging,
Huag kang mapauna sa ibang panauhin;
Ngunit huag ka namang mahuling dumating:
Isipin mong ikaw ay doon hihintin.
Sa mesang pagkain kung tumatawag nga,

Hayaang mauna ang mga dakila;
At gayon din naman huag kang magkusang
Maunang tumikim sa alin mang handa.
Huag kang magmadali’t ang subo’y huag lakhan

Ang ulam ay huag mong amuyin o hipan;
Ang mga kubiertos ay paka-ingatan,
Upang huag kumatog na lubha sa pingan.
Huag mong titigan ang alin mang hain,

At gayon din naman kasalong panauhin
Paka-ingatan mo’t huag sasambitin Ang
bagay na baka nakaririmarim.
Ang iyong mga siko ay huag mong isampa

Magpakailan pa man sa kakanang mesa,
Kahit anong ulam ay huag humingi ka,
Huag naming pintasan ang kahit alin pa.
This excerpt of Dakilang Asal is about how we should behave if we are invited to
a party or a small gathering. The first stanza tells us to always come on time. The
second stanza tells us to give way to guest of honors. The third stanza tells us
not to play with our food and to take care of the utensils. The fourth stanza tells
us not to stare at food and not talk about topics that seem inappropriate. In the
fifth stanza, our elbows should not rest on the table. It is also telling us not to
provide negative comments toward the food.
C. Severino Reyes
• He was born in Sta. Cruz, Manila on February 11, 1861.
• He is known as the Father of Sarswela.
• He had his secondary education at the Colegio de San Juan de Letran and
continued his studies at the University of Santo Tomas.
• In 1902, Reyes wrote his first play entitled R.I.P. at the age of 41.
• Walang Sugat was also written in 1902, which was turned into movies in 1939
and 1957.
• Aside from the sarswela, Severino Reyes is also known for his collection of
short stories
Mga Kuwento Ni Lola Basyang.
Ang Binibining Tumalo sa Mahal na Hari

(Kuwento ni Lola Basyang, Muling Isinalaysay ni Christine Belen)
Tagapagsalita: Noon sa isang kaharian sa Tundo ay may isang dalagang

maganda atmatalino. Siya ay si Sharay, anak ng isang utusan ng hari. Maraming
lalaking nanliligaw sa kanya, at isa rito ang prinsipeng anak ni Datu Abdul. Bawal
mag-asawa ang prinsipe at ang anak ng utusan. Ngunit hindi mapigilan ng datu
ang prinsipe.
Prinsipe: Si Sharay ay hindi lamang maganda. Matalino pa siya at may
mabuting ugali.
Tagapagsalita: Nagplano ang datu. Bibigyan niya ng pagsubok si Sharay.
Inutusan niya si Lamukot, isang utusan na kaibigan ni Sharay.
Datu: Hindi ito dapat malaman ninuman.
Tagapagsalita: Malungkot na pumunta si Lamukot kay Sharay.
Lamukot : Nag-utos ang datu na lutuin mo ang pipit na ito ng labindalawang
putahe. Kung hindi mo sinunod, kamatayan ang parusa.
Sharay (magtanggal ng payneta): Pakisabi sa mahal na datu na gawin muna
niyang labindalawang pinggan at sandok ang aking payneta upang mapaglagyan
ng labindalawang putahe ng pipit.
Tagapagsalita : Sa kinabukasan, bumalik si Lamukot kay Sharay.
Lamukot: Nag-utos ang datu na ipagpalit mo ng ginto ang tupang ito, e ibalik sa
kanya ng buhay pagkatapos.
Tagapagsalita: Tinanggal ni Sharay ang balahibo ng tupa. Nagbenta siya ng
balahito kapalit ng ginto. Pagkatapos, pumunta siya sa datu upang isauli ang
tupa at ibigay ang ginto. Ngunit hindi pa tapos ang pagsubok.
This story is about Sharay who outsmarted the king. She is a daughter of a
servant in the castle who has many suitors. One of them is a prince, the son of
Datu Abdul. Because of her status in life, the Datu is not in favor of his son
marrying a peasant. To be worthy, the Datu decided to put Sharay to the test. In
the end, Sharay was triumphant and the Datu was finally convinced that she is
the right woman for the prince.
Post-Activity 1:
Directions: Write a brief story about your favorite book that you have read and
share it in class.(10pts)
Post-Activity 2:
Direction: With a small group consist of 4 persons. Think a simple story that you
know and create your own mini “Lola Basyang book” using your art materials.
RUBRIC
Content – 50 %
Organization – 20 %
Creativity – 30 %
Post Activity 3:
If you were be given a chance to be a writer, what would be the title of your work
that may depict the Filipino lives during the period of colonization?(10pts)
References:

Baritugo, Mercedita R., Reynaldo G. Caranguian, Angelita C. Punsalan, and
Ernesto Thaddeus M. Solmerano. 2007. Philippine Literature: An Introduction to
Poetry, Fiction and Drama. Manila: FEU Publications.
Lumbera, Bienvenido and Cynthia Nograles Lumbera. 2000. Philippine

Literature: A History and Anthology. Manila: Anvil Publishing.
LESSON VII
PHILIPPINE LITERATURE DURING MARTIAL LAW AND

POST-EDSA REVOLUTION
Pre-Activity 1:
Questions:
 What significant event happened during Martial Law? Edsa Revolution?

 What are the movies or stories adapted from Martial Law and Edsa
Revolution?
Lesson Proper:
I. Philippine Literature during Martial Law and Post-EDSA Revolution
A. Philippine Literature during Martial Law

• Former president Ferdinand Marcos issued Proclamation No. 1081 on
September 21, 1972, placing the country under Martial Law. Prominent political
figures and media personalities who openly criticized the government were
arrested, incarcerated, and went missing. As a form of protest and expression to
this grim period, different literary works emerged, aiming to expose, narrate, or
express anomalies, conspiracies, and leftist views about “military abuses against
citizens, economic plunder by bureaucrats and cronies of the regime, and
impoverishment of the masses” (Lumbera, p. 196).
• These literary works are classified into the following:
◦ Protest literature, sometimes called as revolutionary literature, refers to works

that express distaste, disagreement, or transgression to the present government,
applicable to the current political, social, and/or economic conditions of the
country when the works were written. A notable example was Lualhati Bautista’s
Dekada ’70.

o Below is Jose “Pete” Lacaba’s poem entitled “Prometheus Unbound.”
Lacaba proved to be a staunch critic of the Marcosian dictatorship as he
wrote this poem in protest, also mentioning Hitler, a dictator as well. In the
guise of the pen name Ruben Cuevas, the poem “Prometheus Unbound”
was published by Focus Magazine in 1973. Take a look at the first letter of
every line and you will get MARCOS HITLER DIKTADOR TUTA.
Prometheus Unbound
I shall never exchange my Emancipation’s breath

fetters for slavish servility. Reeks of death, death, death.
‘Tis better to be chained to
the rock than be bound to
the service of Zeus. Death shall not unclench me.
—Aeschylus, Prometheus Bound I am earth, wind, and sea!
Kisses bestow on the brave
Mars shall glow tonight, That defy the damp of the grave
Artemis is out of sight. And strike the chill hand of
Rust in the twilight sky Death with the flaming sword of love.
Colors a bloodshot eye,
Or shall I say that dust Orion stirs. The vulture
Sunders the sleep of the just? Retreats from the hard, pure
Thrust of the spark that burns,
Hold fast to the gift of fire! Unbound, departs, returns
I am rage! I am wrath! I am ire! To pluck out of death’s fits
The vulture sits on my rock, A god who dared to resist.
Licks at the chains that mock
Proletarian literature refers to literary works written by working-class authors.

According to Salvador P. Lopez, it is “the interpretation of the experience of the
working class in a world that has been rendered doubly dynamic by its struggle.”
◦ Prison literature refers to literary works produced by an author who is
incarcerated or confined in a secluded area such as a prison cell. During Martial
Law, the government arrested not only political and media dissidents, but also
writers and scholars such as Bienvenido Lumbera, Ninotchka Rosca, Ricardo
Lee, Jose Ma. Sison, among others. Some examples of prison literature include
Pintig Sa Malamig na Bakal: Poems and Letters from Philippine Prisons (1979)
and Mila Aguilar’s Why Cage Pigeons? (1984).
◦ Circumvention literature refers to literary works that express social and
political transgression through metaphors, allegories, symbolisms, etc. Some
examples of circumvention literature include Jose “Pete” Lacaba’s Sister Stella L.
(1984) and Bayan Ko: Kapit sa Patalim (1985).
B. Post-EDSA Revolution
• In Lumbera’s Philippine Literature: A History & Anthology, he mentioned notable
events of the Philippine literary scene when Martial Law finally ended and a new
government was established. He also noted the two creative writing centers that
seek to hone and further a writer’s craft.
• These notable events were:
◦ Critics such as Virgilio Almario, Isagani Cruz, and Soledad Reyes
embarked on different approaches, post-structuralist and postcolonial, in
reading Philippine writing.
◦ Publishers who produced and embarked on nontraditional projects
(anthologies, novels, poems, etc.) emerged, such as Anvil Publishing,
New Day Publishers, and Solidaridad Publishing House.
◦ Gay and women writings, including male authors writing about women,
and gay and feminist discourses developed. Below is a poem entitled “The
Way We Live” (1992) by Danton Remoto. It was one of the early poems
during the 1990s that was written by an author from the gay community:
◦ Post-EDSA writings paved the way for the development of vernacular
literature, a source of regional literary histories.
Post-Activity 1:
1. Watch the movie Dekada ‘70.

2. Describe the characters and analyze the themes/motifs presented in the
text.
3. Wriate a reaction paper, and discuss family dynamics and gender roles
during the Martial Law.
Post-Activity 2:
1. After watching the movie Dekada 70, choose a famous scene and portray it on
class.
2. The teacher will divide the class into four.
3. Make a short explanation about the scene.
4. Each group will be given 5-10 minutes to present their work.
Post-Activity 3:
 How are the literary works emerged during Martial Law classified?

References:
Maranan, Edgardo, “Against the Dying of the Light: The Filipino Writer and
Martial Law,” Our Own Voice, accessed April 6, 2016,
http://www.oovrag.com/essays/essay2007b-1.shtml.
LESSON VIII
21ST CENTURY PHILIPPINE LITERATURE
Subtopic: Literary Workshops and Awards
Pre-Activity 1:
Questions:
Who among you knows Bob Ong?
What is the famous line from Bob Ong that you know?
Pre-Activity 2:
Are you fond of reading stories in wattpad app?
What is your favorite story that you have read?
Lesson Proper
21st Century Philippine Literature

• As Danton Remoto put in his article in The Philippine Star, “Philippine writing in
the 21st century has taken a new turn.” From conservative plots, literary works
nowadays are gender sensitive, exploring the plurality of culture and challenging
social normativities.
• Technology plays an important role. From blogs, stories materialized and turned
into books; such is the case for Bob Ong, a pseudonym. Some of Bob Ong’s
works include ABNKKBSNPLAko?! (2001), Stainless Longganisa (2005), and
Alamat ng Gubat (2003).
• Stories uploaded via Wattpad not only dmaterialize into books but also adapted
into movies, such as Diary ng Panget, Talk Back and You’re Dead, She’s Dating
the Gangster, Your Place Or Mine?, among others.
• Women, lesbian and gay writings continue to flourish.
• More regional works are being recognized, including in workshops and awards.
• Artists write both in English and in Filipino.
• Writers also embark on translating their works into another language or dialect
or translating a foreign work into Filipino, such as Remoto’s translation of John
Greene’s The Fault in Our Stars.

• Graphic novels, including comics, are gaining quite a following. Some examples
include Carlo Vergara’s Ang Kagilagilalas na Pakikipagsapalaran ni Zsazsa
Zaturnnah (2004), Manix Abrera’s Kikomachine Komix, and Pol Medina Jr.’s
Pugad Baboy.
• Oral poetry is revived through poetry readings or open mic readings, giving it a
modern twist.
• An unusual kind of poetry genre has emerged through textula, mastered by
Frank Rivera, where the entirety of the poem is written and read in mobile
phones. An excerpt below was published in The Philippine Star:
Literary Workshops and Awards
A. Literary Workshops
Literary workshops accept entries from aspiring writers who wish to hone their
craft. They are required to submit original unpublished works (one-act plays,
poems, novels or novels in progress, short stories, etc.), which will be evaluated
and critiqued by panelists.
• Iligan National Writers Workshop
◦ It was established in 1993.
◦ It is an annual workshop organized by the Mindanao State University-
Iligan Institute of Technology and the Mindanao Creative Writers Group.
The workshop accepts works in any of the following languages: Filipino,
English, Chabacano, Cebuano, Waray, Akyanon, Hiligaynon, Kinaray-a,
Maranao, or Higaunon.
• Silliman University National Writers Workshop
◦ It was founded in 1962 by Edilberto K. Tiempo and Edith Tiempo.
◦ It is the oldest creative writing workshop in Asia.
• IYAS Creative Writing Workshop
◦ It was first introduced in 2001 as a supplementary workshop in Negros
Summer Workshops in Multimedia.
◦ It is an annual event managed by the University of St. La Salle in
collaboration with the National Commission for Culture and the Arts
(NCCA) and Bienvenido N. Santos Creative Writing Center of De La Salle
University Manila.
◦ It accepts entries from any of the following languages: English, Tagalog
or Filipino, Hiligaynon, Kiniray-a, and Cebuano.
• UP National Writers Workshop
◦ It is an annual event founded by Likhaan: The University of the
Philippines Institute of Creative Writing.
◦ It accepts entries written in English, Filipino, or other Philippine
languages.
• UST Creative Writing Workshop
◦ It is an annual workshop of the University of Santo Tomas Center for
Creative Writing and Literary Studies.
◦ It accepts works written in English or Filipino and is limited to 12 fellows.
B. Literary Awards
A literary award is an award given to an author in recognition of his or her
exceptional work/s. The following are some literary awards in the Philippines:
• National Artist Award
- It was established in 1972.
- It is the highest distinction given to Filipinos for their remarkable
contributions in the field of arts and letters.
- The NCCA and Cultural Center of the Philippines accept nominations,
screen them, and then deliberate. They then submit a recommendation list
to the president. The award is conferred through a presidential
proclamation.
• National Book Awards
- The National Book Development Board and Manila Critics Circle present
the National Book Awards to outstanding works published in the country.
• Gintong Aklat (or Golden Book) Awards
- The Book Development Association of the Philippines presents this
biennial award to books evaluated based on design and content.
- Its main categories include Arts and Culture, Social Sciences, Natural
Sciences, Literature, Religion, Children’s Book, Trade Books, and
Textbooks.
• Carlos Palanca Memorial Awards
- It was established in 1950. - It aims to “become a treasury of the
Philippine’s literary gems from our gifted writers; and to assist in their eventual
dissemination to our people, particularly students.”
- It also aims to provide grants to writers.
- Below is a poem by Paolo Manalo, “Jolography,” from his Palanca
Award-winning book of poems of the same title. Manalo made use of the
everyday stuff that we see, hear, and say—all that mirrors daily life—and
successfully incorporated it to his poem through the use of playful or
“punny” language.
O, how dead you child are, whose spoiled

Sportedness is being fashion showed
Beautifuling as we speak—in Cubao
There is that same look: Your Crossing Ibabaw,
Your Nepa Cute, Wednesdays
Baclaran, “Please pass. Kindly ride on.”
Tonight will be us tomorrowed—
Lovers of the Happy Meal and its H,
Who dream of the importedness of sex as long as it’s
Pirated and under a hundred, who can smell
A Pasig Raver in a dance club. O, the toilet
Won’t flush, but we are moved, doing the gerby
In a plastic bag; we want to feel the grooves
Of the records, we want to hear some scratch—
In a breakaway movement, we’re the shake
To the motive of pockets, to the max.
The change is all in the first jeep
Of the morning’s route. Rerouting
This city and its heart attacks; one minute faster
Than four o’clock, and the next
Wave that stands out in the outdoor crowd
hanging with a bunch of yo-yos—
A face with an inverted cap on, wearing all
Smiles the smell of foot stuck between the teeth.
Post-Activity 1
Instructions: The class will be divided into four groups. Each group is assign to
analyse and interpret the meaning of the lines from the poem “Jolography” by
Paolo Manalo.

Group 1: 1st to 3rd stanzas
Group 2: 4th to 6th stanzas
Group 3: 7th to 9th stanzas
Group 4: 10 to 12th stanzas
Post-Activity 2
Direction: Complete the two columns below by listing each important detail.
Gintong Aklat (or Golden Book) National Book Awards

Awards
Post Activity 3:
Questions:
What are the different characteristics of a 21st Century Literature?

References:
“23rd Iligan National Writers Workshop - Call for Manuscripts,” Mindanao State
University—Iligan Institute of Technology, accessed March 24, 2016,
https://www.msuiit.edu.ph/announcements/ detail.php?id=1027.
“55th Silliman University National Writers Workshop,” Silliman University,

accessed on March 24, 2016, http://su.edu.ph/nww/?uri=nww.
https:// www.academia.edu/3366293/The_World_the_Text_and_S._P._Lopez.
Bautista, Cirilo F., “In Focus: Impact of Creative Writing Workshops,” National
Commission for Culture and the Arts, accessed March 24, 2016,
http://ncca.gov.ph/about-culture-and-arts/ in-focus/impact-of-creative-writing-
workshops/.
“Brief History of the Carlos Palanca Memorial Awards for Literature,” Carlos
Palanca Memorial Awards for Literature, accessed March 24, 2016,
http://palancaawards.com.ph/newPalanca/ history.php.
Cruz, Isagani, “21st century literature,” The Philippine Star, last modified October
24, 2013, accessed April 10, 2016, http://www.philstar.com/education-and-
home/2013/10/24/1248724/21st -century-literature.

LESSON IX
PHILIPPINE NATIONAL ARTISTS IN LITERATURE AND THEIR

WORKS
Pre-Activity 1:
Directions: Give descriptions about the following artists. (The Teacher will flash
pictures on board)
1. Lea Salonga
2. Efren ‘Bata’ Reyes
3. Manny Pacquiao
Lesson Proper:
Philippine National Artists in Literature and Their Works
I. Nick Joaquin

Nick Joaquin, whose real name is Nicomedes
Marquez Joaquin, was born on May 4, 1917,
in Paco, Manila. He is one of the greatest
Filipino writers in English of all time. He loved
reading at a very young age because of the
poems and stories his mother, who is a
teacher, read to him. He read extensively with
the books he found in the family library and the
country’s public libraries. Nick started writing in
the late 1930s; his first poem was published in
1934, a piece about Don Quixote, and his first
short story, “The Sorrows of Vaudeville,” was
published in 1937 both in the Sunday Tribune
Magazine.
Some of Nick Joaquin’s notable works are the following:

• The Woman Who Had Two Navels (1961), novel
• A Portrait of the Artist as Filipino (1966), play
• Cave and Shadows (1983), novel
• “The Summer Solstice” (1972), short story
• “May Day Eve” (1947), short story
Aside from being awarded as a National Artist, Nick Joaquin also received
numerous awards and recognitions. Among these are the following:
• Ten Most Outstanding Young Men of the Philippines (Awardee for
Literature) in 1955.
• Ramon Magsaysay Award for Journalism, Literature, and Creative
Communication Arts in 1996
• Carlos Palanca Memorial Awards for Literature in 1957, 1958, 1965, and
1976
• S.E.A. (Southeast Asian Writers)
Write Awards in 1980
Nick Joaquin received the honor of
National Artist for Literature in 1976. He
died on April 29, 2004 at the age of 86.
II. Francisco Arcellana

Francisco Arcellana was born on
September 6, 1916, in Sta. Cruz,
Manila. He is one of the most
important forerunners of Philippine
fiction in English. He was one of the
pioneer fiction writers who
experimented with the traditional form
of the short story. His short stories
were often described as having the
same lyricism as that of poetry.
In the 1930s, Arcellana, together with 12 other fiction writers, formed the
group the Veronicans who deviated from the traditional forms and themes
of fiction. Among the members of the group were fellow National Artists
Hernando Ocampo and N.V.M. Gonzalez, and other prominent figures in
Philippine literature in English like Estrella Alfon, the only female member
in the group, and Narciso Reyes. Because national publications thought
their stories were too controversial and would not publish their works, the
group started their own magazine Expression, with Arcellana as the editor.
Arcellana’s narratives are lyrical and poetic with vivid images that
represent his thoughts on love and death. Two of his most anthologized short
stories are “The Mats” and “The Flowers of May.”
Among his notable works are the following:
• Selected Stories (1962)
• Poetry and Politics: The State of Original Writing in English in the
Philippines Today (1977)
• The Francisco Arcellana Sampler (1990)
He was the founder and first director of the UP Creative Writing Center, now
called the UP Institute of Creative Writing. He was proclaimed as National Artist
for Literature in 1990.
Francisco Arcellana died on August 1, 2002, in Quezon City.
III. N.V.M. Gonzales
Nestor Vicente Madali Gonzalez, or more

popularly known as N.V.M., was born on
September 8, 1915, in Romblon. He is a
teacher, fictionist, journalist, and essayist.
Although he did not finish his undergraduate
degree, he received a Rockefeller Foundation
Fellowship to Stanford University in 1948. He
started his writing career at the age of 19.
Two of N.V.M. Gonzalez’s novels are A

Season of Grace (1956) and The Bamboo
Dancers (1957). His most famous and most
anthologized short story is “The Bread of
Salt.” According to fellow National Artist
Bienvenido Lumbera, N.V.M. Gonzalez’s
works “probe the problem of identity in the
experience of the Filipino middle class
intellectual. His pull, however, is towards the
acceptance of an economic fact about
Philippine life, not history.”
Aside from being awarded as a National Artist for Literature in 1997, N.V.M.
Gonzalez was also given numerous awards, which include the following:
• Philippines Centennial Award for Literature in 1998
• Gawad Para sa Sining from the Cultural Center of the Philippines in 1990
• Diwa ng Lahi Award from the City of Manila in 1996
• Gawad Pambansang Alagad ni Balagtas from the Unyon ng mga
Manunulat sa Pilipinas in 1989
• Carlos Palanca Memorial Awards for Literature in 1952, 1953, 1959, and
1971
N.V.M. Gonzalez died on November 28, 1999, in Quezon City.
IV. Edith Tiempo and Cirilo Bautista

Edith L. Tiempo and Cirilo Bautista are both
celebrated writers in English.
Edith L. Tiempo was born on April 22, 1919,

in Bayombong, Nueva Vizcaya. Her two
most popular and anthologized poems are
“Bonsai” and “The Little Marmoset.” She
also wrote several published novels which
include the following:
• A Blade of Fern (1978)
• His Native Coast (1979)
• The Alien Corn (1992)
• One, Tilting Leaves (1995)
• The Builder (2003)
Edith Tiempo, together with her husband Edilberto, founded the Silliman
University National Writers Workshop in Dumaguete City in 1962. The annual
workshop has become one of the most prominent writers’ workshops of the
country.
Edith Tiempo was conferred as National Artist in 1999 and died on

August 21, 2011, in Dumaguete City.
Cirilo Bautista was born in 1941 to a poor

family, but this was not a hindrance for him
to do what he loved best: reading. He read
what was available in their neighborhood.
This love for words and reading helped him
in his studies, and he graduated magna
cum laude from the University of Santo
Tomas when he obtained his degree in
Literature.
His works include the epic trilogy The

Trilogy of Saint Lazarus, which took him
more than 30 years to complete. The last
st
21 Century Literature from the Philippines and the World
book in the trilogy, Sunlight on Broken Stones, won the Centennial Prize for
the epic in 1998 and the National Book Award in 1999. Some of his major
works also include the poetry collection Summer Suns (1963), novel Galaw ng
Asoge (2003), and a collection of literary essays Words and Battlefields (1998).
He was also instrumental in the founding of several creative writing centers
and writing workshops in the country, including De La Salle University’s
Bienvenido Santos Creative Writing Center, Iligan Writers Workshop, and the
Baguio Writers Group.
He received his National Artist for Literature award in 2014, and for
Cirilo Bautista, being named a National Artist is “the greatest achievement of [his]
career” and “the best award that you can win as a Filipino citizen.”
Even though he has retired from teaching in 2006, Cirilo Bautista is still
continuing his love affair with words and launched his new poetry collection,
Things Happen, in 2015.
V. Alejandro Roces and Carlos P. Romulo

Aside from being writers, National Artists for Literature Alejandro R. Roces and
Carlos P. Romulo are public servants who held important positions in the
Philippine government.
Alejandro Roces was born on July 13, 1924,

in Manila. He earned his degree in Fine Arts
from the University of Arizona, and he earned
several doctoral degrees from Toyo University
in Japan, Polytechnic University of the
Philippines, and Ateneo de Manila University.
He served as the Secretary of Education

from 1961 to 1965 during the term of President
Diosdado Macapagal. Roces was also among
the people who urged President Macapagal to
change the Philippine Independence Day from
July 4 to June 12, and to change the language
in Philippine passports, stamps, and currency
from English to Tagalog.
Alejandro Roces is best known for his short stories “We Filipinos Are
Mild Drinkers” and “My Brother’s Peculiar Chicken.” He is known for using
humor in showing the Filipino culture, our hopes, our dreams, and spirit.
Aside from the humorous stories, Alejandro Roces also published a
collection of essays entitled Fiesta about the origins of Philippine folk festivals.
Alejandro Roces received his National Artist for Literature award in
2003. He died on May 23, 2011.

Here is an excerpt from “My Brother’s Peculiar Chicken.”
My brother Kiko once had a very peculiar chicken. It was peculiar because no
one could tell whether it was a rooster or a hen. My brother claimed it was a
rooster. I claimed it was a hen. We almost got whipped because we argued too
much.
The whole question began early one morning. Kiko and I were driving the
chickens from the cornfield. The corn had just been planted, and the chickens
were scratching the seeds out for food. Suddenly we heard the rapid flapping of
wings. We turned in the direction of the sound and saw two chickens fighting in
the far end of the field. We could not see the birds clearly as they were lunging at
each other in a whirlwind of feathers and dust.
“Look at that rooster fight!” my brother said, pointing exactly at one of the
chickens. “Why, if I had a rooster like that, I could get rich in the cockpits.”
“Let’s go and catch it,” I suggested.
“No, you stay here. I will go and catch it,” Kiko said.
My brother slowly approached the battling chickens. They were so busy
fighting that they did not notice him. When he got near them, he dived and
caught one of them by the leg. It struggled and squawked. Kiko finally held it by
both wings and it became still. I ran over where he was and took a good look at
the chicken.
“Why, it is a hen,” I said.
“What is the matter with you?” my brother asked. “Is the heat making you
sick?”
“No. Look at its face. It has no comb or wattles.”
“No comb and wattles! Who cares about its comb or wattles? Didn’t you
see it in fight?”
“Sure, I saw it in fight. But I still say it is a hen.”
“Ahem! Did you ever see a hen with spurs on its legs like these? Or a hen
with a tail like this?”
“I don’t care about its spurs or tail. I tell you it is a hen. Why, look at it.”
The argument went on in the fields the whole morning. At noon we went to
eat lunch. We argued about it on the way home. When we arrived at our house
Kiko tied the chicken to a peg. The chicken flapped its wings and then crowed.
Carlos P. Romulo was an author, journalist,

soldier, and diplomat. He was born on January
14, 1898, in Intramuros, Manila, but he grew up
in Camiling, Tarlac. He was the aide-de-camp of
General Douglas MacArthur during World War II,
and he was a colonel of the U.S. Army. Because
he was also a journalist, he wrote a series of
articles about Japanese imperialism just before
the war. His articles earned him a Pulitzer Prize
in Journalism in 1942. He is the first Filipino
and the first Asian to win the Pulitzer Prize.
st
As an author, he wrote and published several books. Some of his books
are the following:
• I Saw the Fall of the Philippines (1942)
• Mother America (1943)
• My Brother Americans (1945)
• I See the Philippines Rise (1946)
Carlos P. Romulo was also a public servant, serving a total of eight

presidents. He was the first Asian to be elected president of the Fourth
Session of the United Nations General Assembly in 1949–1950.
He was awarded as a National Artist for Literature in 1982. He died on
December 15, 1985.
Below is an excerpt from Carlos P. Romulo’s “The White Man in the Orient.”
These are small differences. I cite them to show how small are the hurts that
create differences. Despite them the American changed our opinion of the white
race. He was our friend. In turn, our attitude toward him has changed the opinion
of the entire Orient.
The rest of the Orient came to understand how matters stood between us
in the Philippines. They realized that the American was one white man “whose
face was not money.” Where other men exploited, he spent too freely. In fact, he
was disliked and condemned for his free spending by other white men, for it
raised living standards wherever he might be.
A white man who did not live for money was a paradox to the Oriental.
The Oriental in his own fashion said of the American, “He is a queer fellow!”
The American talked to natives wherever he traveled and did not expect
them to kowtow. This, too, made him queer—different from other white men.
The Orientals of other countries knew that Filipino leaders who were for
independence were not shot or imprisoned by the Americans. Instead, they were
honored. They knew, when war broke out between Japan and China, that
American sympathies were with China. They knew, when Stimson wished to
show a firm hand in Manchukuo, that other white men, not Americans, refused to
uphold this American protest against the criminal invasion by the Japanese.
The American was for the underdog.
The Oriental from elsewhere in the Orient who visited us in the Philippines
found us dining and dancing with the Americans in clubs and hotels and homes,
and returned to his home in the Far East filled with wonder. This, to him, was the
final realization of democracy. For while the Occidental may judge the progress
of colonization by tall buildings and economic advantages, the Oriental sees it in
the simple term—how well do the white race and the brown regard each other?
VI. F. Sionil Jose

Francisco Sionil Jose, more widely
known as F. Sionil Jose, is one of the
most-read contemporary writers in the
Philippines. He was born on
December 3, 1924, in Rosales,
Pangasinan. He attended the
University of Santo Tomas where he
studied Journalism.
F. Sionil Jose is most known for his
Rosales Saga. The Rosales Saga consists
of five novels that talk about the story of two
families from Rosales, Pangasinan. The
story spanned through several generations
from the Spanish period until the declaration
of Martial Law in the 1970s. The two
families are the Samson family (who are
poor farmers) and the Asperri family (who are rich mestizos).
The novels talk about our history, politics, and social struggles. The novels,
arranged chronologically, are:
• Po-on (1984)
• Tree (1978)
• My Brother, My Executioner (1973)
• The Pretenders (1962)
• Mass (1978)
Although they are part of one connected universe, the five novels can be read
individually. What binds the novels together is their overall theme that deals with
social class oppression. The Rosales Saga deals with contemporary oppression
despite the “absence” of colonial rule in the country.
He also wrote many other novels and short stories such as “Waywaya”
and “Arbol de Fuego.” One of his most anthologized short stories is “The God
Stealer,” which is about the friendship of an Ifugao named Philip Latak and an
American named Sam Christie who wanted to buy a genuine bulol, or a sculpture
of an Ifugao god, as a souvenir. F. Sionil Jose’s short stories and novels often
explore the effects of colonization on society.
He was awarded the National Artist for Literature award in 2001. He
also received numerous national and international awards, including the Ramon
Magsaysay Award for Journalism, Literature, and Creative
Communications in 1980, the CCP Centennial Honors for the Arts in 1999,
and the Pablo Neruda Centennial Award in 2004.
F. Sionil Jose is now ninety-one years old and lives in Manila with his
family. He also owns a bookshop in Manila called Solidaridad.
Here is an excerpt from F. Sionil Jose’s My Brother, My Executioner (1979).

Luis smiled wryly, “How I wish that I could really do something—but what, Eddie?
As my father said, it is not the truth that gives us strength. I’m not even half the
man that I should be. I am a God-forsaken bastard. Go to my hometown and ask
anyone you meet in the street. He will tell you how my mother was a maid in my
father’s house. I had to live that lie in this city and I tried to belong. Everything is
a sham and I wish I’d never been born.”
Eddie stood up and embraced him, but Luis pushed him brusquely away.
“I don’t need your sympathy,” Luis said.
“It is not sympathy,” Eddie said. “It is gratitude—for trusting me.”
“I don’t have to be a hypocrite anymore. I can now live the way I like. If I
must, I will tell the story all over again. Let us say that I am a mourner and that no
one can comfort me except the truth and the damnation that goes with it.”
VII. Virgilio S. Almario
Virgilio S. Almario, also known as Rio Alma, was born on March 9, 1944, in San
Miguel de Mayumo, Bulacan. He is a poet, translator, editor, critic, teacher, and
cultural propagator. He obtained a degree in AB Political Science from the
University of the Philippines in 1963. He taught social studies right after
graduation in his alma mater, San Miguel High School, in Bulacan.
Almario met poets

Rogelio Mangahas and
Lamberto Antonio at the
University of the East,
and they eventually
started the new
modernist movement in
Filipino poetry.
His first poetry collection,
Makinasyon, was published in 1968,
and he also wrote what is considered
the first book of literary criticism in
Filipino, Ang Makata sa Panahon ng
Makina, in 1972. His other works
include Peregrinasyon and Doktrinang
Anakpawis.
He also translated many literary works in Filipino including the play of
fellow National Artist Nick Joaquin, Fathers and Sons (Mga Ama, Mga Anak) with
Jose Lacaba, and Jose Rizal’s Noli Me Tangere and El Filibusterismo.
Rio Alma was conferred as National Artist for Literature in 2003. He also
received numerous awards including:
• Makata ng Taon of the Komisyon ng Wikang Filipino
• Carlos Palanca Memorial Award for Literature
• Ten Outstanding Young Men for Literature
• S.E.A. Write Award
Almario is currently the chairman of the Komisyon sa Wikang Filipino.

One of the poems in his first collection, Makinasyon is “Ngayong Gabi.” It is the
shortest among the poems in the collection.
Li Po, ang buwan

Ay sanghiwang papaya.
Diwa’y naglaway.
The poem, although very short, is rich with imagery. It

combines and alludes to three traditions of poetry in
Asia: classical Chinese poet Li Po and his moon
poems, the Japanese haiku, and the Filipino bugtong.
VII. Bienvenido Lumbera and Rolando Tinio

The two National Artists discussed in this chapter
have significant contributions in both theater and
poetry.
Bienvenido L. Lumbera was born on April 11,

1932, in Lipa, Batangas. He attended the University
of Santo Tomas and studied Literature, and graduated
in 1950. He also received a Fulbright Scholarship and earned his PhD in
Comparative Literature from the University of Indiana in 1968.
He writes poetry, and he published several poetry collections including
Likhang Dila, Likhang Diwa (1993) and Poetika/Pulitika (2008). He has also done
a number of librettos (the texts used for the musical theater) such as Nasa Puso
ang Amerika, a musical adaptation of Carlos Bulosan’s America is in the Heart;
Bayani; Noli Me Tangere: The Musical; Hibik at Himagsik Nina Victoria
Laktaw; and Tales of the Manuvu. He also wrote several textbooks and
anthologies on Philippine literature and helped in the restoration of the stories
and poems written in various vernacular languages in the Philippines.
Bienvenido Lumbera received the National Artist for Literature Award

in 2006. He also received various awards including the Ramon Magsaysay
Award for Journalism, Literature, and
Creative Communications in 1993, the
Gawad Pambansang Alagad ni Balagtas
from the Unyon ng Manunulat ng Pilipinas in
1993, and the Centennial Honors for the
Arts from the Cultural Center of the
Philippines in 1998.
Rolando Tinio is not just a National Artist

for Literature, as he is also named as
National Artist for Theater because of his
contributions in both fields. He was born on
March 5, 1937, in Gagalangin, Tondo,
Manila. He attended the University of Santo Tomas and graduated magna cum
laude with a degree in Philosophy at eighteen years old in 1955.
His poetry collection, Kristal na Uniberso, won the National Book Award in
1990. One of his well-known plays is May Katwiran ang Katwiran wherein he
used the techniques and elements of Brechtian Theater, or the epic theater. In
Brechtian theater, the characters are often presented as stereotypes or
archetypes. Rolando Tinio used this technique in the landlord and the kasama.
The play talks about the two types of classes in Philippine society: the pampered
rich and the poor lower class. It shows the injustice that the poor people are
suffering from because of the selfishness of the rich.
Rolando Tinio is also known for translating Western classic plays into
Filipino. He translated works of Arthur Miller (Death of a Salesman, Pahimakas
sa Isang Ahente, 1966), Tennessee Williams (The Glass Menagerie, Laruang
Kristal 1966), and Samuel Beckett (Waiting for Godot, Paghihintay kay Godot,
1967), among others.
Rolando S. Tinio was proclaimed as National Artist for Theater and
Literature in 1997. He is the third to be named as a National Artist in two fields.
He died on July 7, 1997.
Let’s read Tinio’s “Sa Poetry.”
Sa Poetry
by Rolando Tinio
Sa poetry, you let things take shape,
Para bang nagpapatulo ng isperma sa tubig,
You start siyempre with memories,
Yung medyo malagkit, kahit mais
Na mais: love lost, dead dreams,
Rotten silences, and all

Manner of mourning basta’t murder.
Papatak yan sa papel, ano. Parang pait,
Kakagat ang typewriter keys.
You sit up like the mother of anxieties.
Worried na worried hanggang magsalakip
Ang odds and ends ng inamag mong pag-ibig.
Jigsaw puzzle. Kung minsan, everything fits.
Kung malas ka, magkakalintik-lintik.
Pero sige ang pasada ng images
Hanggang makuha perfectly ang trick.
At parang amateur magician kang bilib

Sa sleight-of-hand na pinapraktis:
Nagsilid ng hangin sa buslo, dumukot,

By golly, see what you’ve got--
Bouquet of African daisies,
Kabit-kabit na kerchief,
Kung swerte pa, a couple of pigeons,
Huhulagpos, beblend sa katernong horizon,
You can’t say na kung saan hahapon.
Post-Activity 1: (Pair Activity)

Instructions:
 Choose a literary work of any of the National Artists discussed in this
lesson.
 Create a comic strip about the literary work you have chosen.
 Think of a catchy title for your output.
RUBRIC
Content 50%
Organization 25%
Creativity 25%
Post-Activity 2:
Directions: Identify the following artists that being described in each item.
1. He is known for using humor in showing the Filipino culture, our hopes,
our dreams, and spirit.
2. Known for translating Western classic plays into Filipino.
3. His first poem was published in 1934, a piece about Don Quixote, and his
first short story, “The Sorrows of Vaudeville,” was published in 1937 both
in the Sunday Tribune Magazine.
4. Known for his Rosales Saga.
5. His most famous and most anthologized short story is “The Bread of
Salt.”
References:
“Biography of Edith L. Tiempo,” on Silliman University’s official website,

accessed February 13, 2016, http://su.edu.ph/page/113-biography-of-edith-l.
Chua, Jonathan. “In His Own Words: An Interview with Francisco Arcellana
on Jose Garcia Villa.” Kritika Kultura (online), 0.2 (2002): 107–123, accessed
February 13, 2016, http://journals.ateneo. edu/ojs/kk/article/view/1597/1622

Encyclopædia Britannica Online, s.v. “Nick Joaquin,” accessed February 12,
2016, http://www. britannica.com/biography/Nick-Joaquin.
“The Order of National Artists | GOVPH,” Official Gazette of the Republic of

the Philippines, accessed February 13, 2016, http://www.gov.ph/the-order-of-
national-artists/.
Module II
UNDERSTANDING
MAJOR LITERARY

GENRES
 Distinguish one literary genre from another.

 Identify the elements of each literary genre.
 Analyze the different elements in various literary texts.
 Differentiate genre fiction, emerging literary genres, electronic literature, and
graphic literature from one another.
 Identify the different kinds of genre fiction, emerging literary genres, and
electronic literature.
LESSON I
POETRY and PROSE
Subtopic:
 Types of Poetry and Prose
 Elements of Poetry and Prose
Pre-Activity 1:
What is Poetry? What is Prose?

Lesson Proper:
I. Poetry
The term poetry is derived from the Latin word poema, which means “to create.”
It is a literary genre that uses the sound, meaning, and rhythm of language to
express feelings and ideas. A poem typically has mood (sad, happy, angry, etc.),
follows a verse form, and uses literary devices (allegory, metonymy, metaphor,
irony, etc.). It allows the reader to use his or her imagination to interpret and
analyze a text.
There are three types of poetry:

• Narrative Poetry
These are poems that tell a story. Examples of these are epics and
ballads.
• Lyric Poetry
These are poems that are supposedly sung with a musical
accompaniment. They express the poet’s or the persona’s (the person
speaking in the poem) feelings and emotions. Examples of lyric poetry
are sonnets, psalms, elegies, songs, and odes.
• Dramatic Poetry
These are poems that are usually performed onstage, and they can be
sung or spoken. The classic plays Romeo and Juliet by William
Shakespeare and Oedipus the King by Sophocles are some examples of
dramatic poetry.
The three general elements of poetry are the following:

• Imagery
Imagery is the use of language that evokes any of the senses—visual,
auditory, gustatory, tactile, and olfactory. It may also employ the use of
metaphor, personification, simile, and other figures of speech.
When, in disgrace with fortune and men’s eyes,

I all alone beweep my outcast state
And trouble deaf heaven with my bootless cries
And look upon myself and curse my fate,
Wishing me like to one more rich in hope,
Featured like him, like him with friends possess’d,
Desiring this man’s art and that man’s scope,
With what I most enjoy contented least;
Yet in these thoughts myself almost despising,
Haply I think on thee, and then my state,
Like to the lark at break of day arising
From sullen earth, sings hymns at heaven’s gate;
For thy sweet love remember’d such wealth brings
That then I scorn to change my state with kings.
“Sonnet 29” by William Shakespeare
• Sound Pattern
Sound patterns include rhyme, rhythm, and other literary devices that
pertain to sounds, such as onomatopoeia (using words that imitate the
sound of what they refer to), alliteration (repetition of initial sounds), and
assonance (repetition of vowel sounds within neighboring words).
>Rhyme is the repetition of similar or identical sounds at the end of

poetic lines. The rhyme scheme is the pattern of the rhyme placed at the
end of each line or stanza in a poem.
Example:
Whose woods these are I think I know. a

His house is in the village though; a
He will not see me stopping here b
To watch his woods fill up with snow. a
My little horse must think it queer b

To stop without a farmhouse near b
Between the woods and frozen lake c
The darkest evening of the year. b
He gives his harness bells a shake c

To ask if there is some mistake. c
The only other sound’s the sweep d
Of easy wind and downy flake. c
The woods are lovely, dark and deep. d

But I have promises to keep, d

And miles to go before I sleep, d
And miles to go before I sleep. d
“Stopping by Woods on a Snowy Evening” by Robert Frost
Aside from rhymes, the poem’s musicality is also achieved through its rhythm.
• Theme
The theme is the central idea of a poem. It is usually stated as a
philosophical truth in life.
Prose is simply any writing that does not have a metrical structure and
rhythmical pattern like that of poetry. It is composed of sentences and
paragraphs instead of lines and stanzas.
Prose is divided into two: fiction and nonfiction. For this chapter, we will be
discussing only fiction.
The term fiction comes from the Latin word fictio, which means “to invent
or make up.” A fiction is a story that is made up or invented by an author. This
means that the events in the story are not real; they are products of the author’s
imagination. Examples of fiction are novels and short stories.
There are five basic elements of fiction. They are as follows:

1. Plot
This is the framework or structure of a story that consists of causally
related events. By “causally,” it means that all events and actions that happen in
the story are linked together.
The basic and common plot structure of a story follows a linear format:
beginning, middle, and end. However, some stories follow a nonlinear format. It
means that some stories start in the middle or in the end.
Plot structure
The exposition introduces the story’s settings and characters. It also hints at a
coming conflict. The exposition includes an inciting incident or an event that
signals the beginning of a conflict. This incident, leading to a conflict or a problem
that the main character faces, sets the story in motion.
The rising action is where the tension builds because of the conflict. The
conflict, or a series of conflicts, leads to the climax.
The climax is the turning point in the story.

Denouement is the sudden drop of the tension toward the final stretch of the
story toward the resolution of the conflict. At this stage, all loose ends are tied up.
The plot is initiated by the conflict or the problem in the story. There are four
general types of conflict:
Types of Conflict
• Man vs. self—Also known as internal conflict; the main character struggles with
himself or herself. This type of conflict deals with the main character’s response
to the struggles he or she is faced with.
• Man vs. man—The main character encounters a problem with another
character in the story.
• Man vs. nature—The main character faces the forces of nature, such as a
natural disaster, any naturally occurring event (e.g., freezing temperature,
drought), or actual objects in nature (e.g., mountain, river).
2. Character
Characters perform the action in a story. They can be human or nonhuman. They
are critical to the development of conflict and its resolution.
There are different types of characters classified according to the following:

• Protagonist—This is the main character in the story.
• Antagonist—This is the character who struggles against the protagonist. The
antagonist can be a person or persons, things, conventions of society, nature,
fate, or just about anything or anyone that causes the protagonist to struggle.
• Flat or static—This is a noncomplex character who does not change in the
course of the story.
• Round or dynamic—This is complex character who is changed by the conflict
that he or she encounters.
3. Setting
Setting refers to the place, time, and the general environment in which the story
takes place.
4. Point of view
Point of view is the perspective from which the story is presented.
There are four basic types of points of view.

• First person
In the first-person point of view, the narrator is usually the protagonist. It uses the
pronoun “I” to refer to the narrator. This POV allows the readers to have access
to the character’s inner thoughts and feelings, thus involving the readers in the
story’s action.
• Objective or dramatic

In the objective or dramatic point of view, the observer narrator is limited to
narrating what the characters say and do, and does not tell the readers what the
character is thinking or feeling.
• Second person
In the second-person point of view, the narrator uses the pronoun “you” to
narrate the story. The narrator or author directly addresses the readers.
• Third person
In the third-person point of view, the reader gets to be an observer. The narrator
does not refer to himself/herself or acknowledges the reader. It does not use the
pronouns “I” and “you” in narrating the story. Instead, the narrator uses “he/she,”
“their/theirs,” etc.
5. Theme
The theme is the general claim or universal truth that may be explicitly or
implicitly stated in a story.
Post-Activity 1: (Group Activity)

Instructions:
1. The teacher will divide the class into two groups
2. The first group will create a short story using the different elements of fiction.
3. The second group will make a poem using the elements of poetry.
4. Each group will be given 15 minutes to present their output.
Rubrics
Creativity 50%
Structure 30%
Presentation 20%
Total 100%
Post-Activity 2:
Direction: Answer the following questions:
1. What is poetry and prose? (5 pts)

2. Give and define the three types of poetry. (10 pts)
3. Give at least 1 general elements of prose and discuss it. (5 pts)
References:
Abad, Gémino H. 1998. The Likhaan Anthology of Philippine Literature in English

from 1900 to the Present. Diliman, Quezon City: University of the Philippines
Press.

Dalisay, Jose Y. 2006. The Knowing Is in the Writing: Notes on the Practice of
Fiction. Diliman, Quezon City: University of the Philippines Press.
Enriquez, Delia C. 2012. Philippine Literature: A Regional Approach, 3rd ed.

Manila: National Book Store.
Jose, F. Sionil. 2000. “The God Stealer.” In The Best Philippine Short Stories of
the Twentieth Century: An Anthology of Fiction in English. Edited by Isagani R.
Cruz. Manila: Tahanan Books.
New York Writers Workshop. 2006. The Portable MFA in Creative Writing:
Improve Your Craft with the Core Essentials Taught to MFA Students. Cincinnati,
OH: Writer’s Digest Books.
Oliver, Mary. 1994. A Poetry Handbook. San Diego: Harcourt Brace & Company.
LESSON II
Topic: CREATIVE NONFICTION
Subtopic:
 Formal Essay
 Informal Essay
Pre-Activity 1: Hi I’m Dora and I love to

explore different places. I am
always with boots. How about
you? Would you like to tell
something about yourself?

Lesson Proper
Creative Nonfiction
The other type of prose is nonfiction. Unlike fiction, nonfiction narratives talk
about factual events and factual information. Some examples of nonfiction
narratives are autobiographies, biographies, and personal essays.
Works of creative nonfiction are usually essays. Essays are generally any
piece of nonfiction writing written from the writer’s point of view or opinion. It
came from the French verb essayer, which means “to try” or “to attempt.”
The earliest known essay is said to be the Japanese Zuihitsu. They were
popular writings during the Heian period (794−1185) to the Edo period
(1603−1868). Zuihitsu were personal writings that explore current issues. Some
of the notable Zuihitsu are The Pillow Book by Sei Shōnagon (1000),
Tsurezuregusa by Yoshida Kenkō (1330), and Hōjōki by Kamo no Chōmei
(1212).
The essay in the West became popular only in the 1550s. The two writers
who were attributed with the “invention” of the form are Michel de Montaigne and
Francis Bacon.
• Michael de Montaigne
— He published Essai, a collection of 107 essays, in 1580.
— He was said to have essentially invented the literary form of the
essay.
• Francis Bacon
— He published the collection of essays, Essayes: Religious
Meditations. Places of Perswasion and Disswasion. Seene and
Allowed, in 1597.
— Bacon’s essays cover a wide range of styles and topics drawn from
public and private life.
— In 1625, Bacon expanded Essays from the original ten to fifty-eight
essays.
Since then, writers used the essay in various ways, and the form
flourished.
There are two general types of essays:

• Formal essay
This is a serious discussion in which a writer talks about a subject. It follows the
strict structure of introduction—discussion—conclusion. The tone of the writing is
often objective.
• Informal essay
This is a lighter approach that talks about a specific issue. Its purpose is usually
to engage the reader in a casual discussion of the subject. The tone may be light
or serious, and is personal most of the time. The language may be informal,
sometimes conversational, and the writer’s personality is often reflected in the
essay.
Characteristics Informal Formal
Subject/Content Reflects about everyday Varied forms of knowledge
life
Tone Personal and subjective; Objective;
Conversational and casual sometimes academic
Structure Appears to be more Follows a structure of
loosely structured than introduction—discussion—
formal essays conclusion
Idea May be implied or stated Stated explicitly in the first
anywhere in the essay or second paragraph
Vocabulary Everyday language that Highly technical language;
may include slang and generally avoids slang and
colloquialisms colloquialisms
Purpose Entertainment or reflection Imparts information or
sometimes provokes
action and thought
Post-Activity 1
Directions: Write your own Autobiography in a short bond paper.
Post-Activity 2
Instructions:
1.Choose a partner; Pick one question in the box.
2.Make a short interview about the topic you have chosen.
3. Write at least 10 conversations.

Directions: Write your own Autobiography in a short bond paper.
References:

Press.
LESSON III
Topic: DRAMA
Subtopic:
 Types of Drama
Pre-Activity
m
a
r
D
Lesson Proper
his or her downfall.
• Comedy
What is Drama?
Dramas are stories in verse or prose forms that are meant to be performed
onstage in front of a live audience. They usually tell a serious story that involves
conflicts and strong emotions. Authors who write dramas are called dramatists or
playwrights.
Types of Drama
• Tragedy
The central character in a tragedy has a tragic flaw, making this character a
tragic hero. It means that he or she possesses a characteristic that can lead to
Comedic plays aim to make the audience laugh. Comedic stories are
lighthearted. They often take place in unusual circumstances, and it is typical for
characters in these plays to utter witty remarks.
• Musical drama
The characters in musical drama dance and sing. Various themes are presented,
from serious to comedic.
• Farce
Farce is a nonsensical kind of drama that employs slapstick humor. It is mainly
comedic and is characterized by absurd conditions or situations and ardent
actions.
• Melodrama
A melodrama is characterized by the characters’ exaggerated emotions in
various situations.
Dialogue refers to the characters' speech and is considered the lifeblood of

drama. The members of the audience get to understand the story, not only by the
characters’ actions but also by their speech. Dialogue may take the following
forms:
• Dialogue—These are the conversations of two or more characters onstage.
• Monologue—This is a long speech given by one character onstage .
• Soliloquy—This is the speech of a character who is alone onstage. It would
seem as if the character is talking to himself or herself or to the audience during
a soliloquy.
• Aside—This is a remark that a character makes that is meant only for the
audience to hear. The other characters onstage do not hear asides.
Since it is meant to be performed, there are additional elements in drama
that deal with bringing the story to life. These are the following:
• sets
• lighting
• costumes
• props
When you read a play, always remember that it is meant to be performed and will
have stage directions.
Post-Activity 1:
Instructions: Create a role play using the different types of drama.
Group 1: Tragedy
Group 2: Comedy
Group 3: Musical drama
Group 4: Melodrama
Rubrics:
Presentation 40%
Creativity 30%
Language 20%
Teamwork 10%
Total 100%
Post Activity 2:
 Enumerate and define the types of drama.
 Dialouge vs. Monologue vs. Soliloquy
Post Activity 3
Watch the movie Romeo and Juliet and make a reaction paper about it.
References:

Press.
Enriquez, Delia C. 2012. Philippine Literature: A Regional Approach, 3rd ed.

Manila: National Book Store.
Jose, F. Sionil. 2000. “The God Stealer.” In The Best Philippine Short Stories of
the Twentieth Century: An Anthology of Fiction in English. Edited by Isagani R.
Cruz. Manila: Tahanan Books.
LESSON IV
VARIOUS KINDS OF LITERARY GENRES
Subtopic:
 Genre Fiction
 New and Emerging Literary Genres
 Electronic Literature
 Graphic Literature
Pre-Activity 1 (Comparison)
What is the difference of Wattpad and Pocketbook?
Lesson Proper
I. Genre Fiction
Genre fiction, or popular fiction, refers to plot-driven works that allow the readers
to escape from reality. It does not mainly focus on thematic exploration and in-
depth characterization.
The following are the kinds of genre fiction:
• Science fiction, or simply sci-fi, explores society and human knowledge
often involving imaginary technological innovations or scientific
advancements of the future. Some examples of science fiction include
George Lucas’s Star Wars series, Ray Bradbury’s The Martian Chronicles,
and Isaac Asimov’s I, Robot.
• Fantasy fiction deals with magic and/or other supernatural elements.
The story takes place in an entirely different world (Middle Earth,
Westeros, Hogwarts). Some examples of fantasy fiction include J.K.
Rowling’s Harry Potter series, J.R.R. Tolkien’s The Lord of the Rings
trilogy, and C.S. Lewis’s The Chronicles of Narnia.

• Horror fiction intends to create a feeling of fear and terror. Some
examples of horror fiction include Stephen King’s The Shining and Pet
Sematary, Bram Stoker’s Dracula, and William Peter Blatty’s The Exorcist.
• Historical fiction, or period fiction, refers to bodies of work that are set
in the past. They are sometimes based on historical events such as war,
catastrophe, etc. Some examples of historical fiction include Arthur
Golden’s Memoirs of a Geisha, Margaret Mitchell’s Gone with the Wind,
and Markus Zusak’s The Book Thief.
• Chick literature, or more popularly known as chick lit, deals with issues
in women’s lives; thus, it appeals mostly to women. Some examples of
chick lit include Sophie Kinsella’s Confessions of a Shopaholic, Lauren
Weisberger’s The Devil Wears Prada, and Helen Fielding’s Bridget
Jones’s Diary.
• Romantic fiction focuses on the relationship between two individuals.
However, it is not limited to the love story of the characters. Its subplots
are essential to the story as a whole. Some examples of romance fiction
include John Green’s The Fault in Our Stars and Nicholas Sparks’s A
Walk to Remember.
• Mystery fiction and crime fiction are different genre fictions although
they are sometimes used interchangeably. Crime fiction involves a
crime story where there is a perpetrator or a killer and a victim, whereas
mystery fiction appeals to the mind and deals with solving a puzzle such
as a mysterious death, a missing person, etc. Some examples of
mystery and crime fictions include Arthur Conan Doyle’s Sherlock
Holmes and Agatha Christie’s Murder on the Orient.
• Thriller fiction, or suspense fiction, is action-paced and creates feelings
of suspense, excitement, and apprehension on the readers or the
audience. Some examples of thriller fiction include Thomas Harris’s
Silence of the Lambs, Gillian Flynn’s Gone Girl, and S.J. Watson’s
Before I Go to Sleep.
• Young adult fiction, or YA, focuses on characters, experiences, and
issues or conflicts that appeal to teenagers or young adults. Some
examples of young adult fiction include Stephen Chbosky’s The Perks of
Being a Wallflower, John Green’s The Fault in Our Stars, Suzanne
Collins’s The Hunger Games series, Veronica Roth’s Divergent series,
and Stephenie Meyer’s Twilight saga.
II. New and Emerging Literary Genres

New and emerging literary genres are works written by authors that deviate from
traditional writing methods. Often, these works are related to other genres.
The following are the different kinds of new and emerging literary genres:
• Flash fiction, also known as short short, microfiction, postcard fiction,
and sudden fiction, is usually composed of not more than 1,000 words.
Despite its brevity, it is a complete story— it has a beginning, a middle,
and an end. Some examples of flash fiction include Lydia Davis’s “Spring
Spleen” from The Collected Stories of Lydia Davis, Ernest Hemingway’s
“For Sale: baby shoes, never worn,” and Edith Pearlman’s “Golden Years”
from Hint Fiction.
• Fan fiction or “fan fic” is literally fiction written by a fan of an original
work, usually found on the Internet. A fan fic could have a narrative that
exists either in the canonical universe of the subject or outside of it.
Usually, fans write stories based on best-selling novels, with some
writing alternative endings or situating it in a parallel universe. Most
prominent examples are fan fiction written about the Harry Potter series
or Twilight.
• Metafiction is a “fiction about a fiction.” In this type of fiction, the author,
the narrator, or the main character directly speaks to the reader. The
reader also plays a part in the story. Some examples of metafiction include
Jostein Gaarder’s Sophie’s World and Umberto Eco’s The Name of the
Rose.
• Slipstream, also considered as “the fiction of strangeness,” is a
nonrealistic fiction that crosses science fiction and fantasy or mainstream
literary fiction. However, not all slipstream stories do. Slipstream stories
often employ elements of the surreal and antireality. Some examples of
slipstream fiction include Kelly Links’s Stranger Things Happen, Neil
Gaiman’s Neverwhere, and Haruki Murakami’s The Wind-up Bird
Chronicle.
III. Electronic Literature

Electronic literature, or simply e-lit, as defined by the Electronic Literature
Organization, are literary works that maximize the features and explore the
contexts of personal and network computers. Most works are not for printing
formats as they are designed to be fully experienced digitally, such as graphics,
animations, games or quests, and sounds. However, electronic literature is
different from e-books as e-books are a digital version of a paperback.
The following are the kinds of electronic literature:
• Digital fiction
 Hypertext fiction is nonlinear and reader centered. The readers are
provided with different links of the story, thereby deciding on what order to
read the pages of the story and choosing how a story will pan out. In some
hypertext works, the readers can even add their own version of the story,
which allows for different plots. One of the earliest examples of this is
Douglas Cooper’s Delirium, which allowed the reader to navigate four
parallel stories.
 Interactive fiction is an adventure story in a software-simulated
environment, usually a video game (role-playing game or RPG), where the
reader or the player controls how the story will develop. It has multiple
story lines and endings may vary. An example of this is 80 Days, an
adventure game based on Jules Verne’s Around the World in Eighty Days.
• Digital poetry

 Hypertext poetry is characterized by links wherein a word, a phrase, or
a line is linked to another page, which describes or elaborates on the idea
conveyed in the poem. Some hypertext poems link sounds, visual images,
and other poems to help in the readers’ interpretation. An example of this
is the hypertext version of T.S. Eliot’s “The Love Song of J. Alfred
Prufrock,” which enables a reader to experience the poem in another way
by providing links to photos, web sites, and content that can be associated
with the images in the text.
 Interactive poetry allows readers to contribute to the content or form of
a poem. Readers can collaborate or work together to create a poem or
interact with it. One prominent example is JABBER: The Jabberwocky
Engine, a site that allows a visitor to create neologisms or an invented
word or phrase.
 Code poetryis written in a programming language format (C++, Java,
HTML) that is not, in reality, executable. For example, Kenny Brown’s
“Creation?” mimics the start of our solar system by using rule sets and
variables found in coding.
 Visual or concrete poetryuses visual presentation to enhance the

meaning of the poem. Simply put, the layout, or how the
words/lines/verses are placed or shown, is as important as the content.
Some examples of visual or concrete poetry include Lewis Carroll’s “The

Mouse’s Tale,” George Herbert’s “Easter Wings,” and Eugen Gomringer’s
“Silence.”
 Kinetic poetryuses kinesthesia, a literary device that describes the action
or movement of a person or an object. In modern times, writers use
technology for a more visual expression of their works. They employ the
use of kinetic typography or moving text for an elaborate expression of an
emotion or thought. Kinetic poetry is often produced in videos. A current
example of this type is by an Australian group called 313RGB, where one
stands in front of the screen and “moves” words with the use of one’s
hands.
IV. Graphic Literature
Graphic literature, also called sequential storytelling, is literature in the form of

comics. Commonly referred to as the “graphic novel,” the term has come to
encompass not just works of fiction, but also autobiographical narratives, nonfiction,
and even poetry. Usually credited as being first coined by Will Eisner in A Contract
with God and Other Tenement Stories (1978), the term graphic novel is
distinguished from “comic book” simply because it is presented in book format.
Although the definitions of the terms graphic literature and graphic novel are points
of contention, most critics have used the term to refer to novel-length works or
compilations of previously serialized narratives. Here are some of the most popular
graphic novels as mentioned in comic studies:
 Frank Miller’s The Dark Knight Returns (1986) is a four-issue comic book
compiled into a single volume. It tells the story of Batman, specifically a 55-
year-old Bruce Wayne who comes out of retirement to fight crime once again.
The narrative introduces a female Robin in the form of Carrie Kelley. It also
uses as central conflict Batman’s confrontation with Superman.
 Alan Moore’s Watchmen (1986–1987) is a DC comic book series that
focused on superhero stereotypes and America’s anxieties over the Cold War
and the Vietnam War. It mostly deconstructed the idea of a superhero, and
presented superheroes who were already past their prime. It has become
part of the graphic literature canon and is included in Time Magazine’s List of
the 100 Best Novels.
 Art Spiegelman’s Maus (1980–1986) is a graphic novel about the Holocaust.
It features Spiegelman’s father as he recounts his experience as a Polish
Jew. In this graphic novel, Jews are portrayed by mice, whereas Germans
and Poles were cats and pigs. Praised for its postmodern techniques and its
effective mix of genres such as memoir, history, fiction, and comics, Maus
won the Pulitzer Prize in 1992.
 Neil Gaiman’s The Sandman (1989–1996) is an American comic book series
that follows the lives of and those touched by the seven Endless—the main
character Dream, also known as Morpheus; Destiny; Death; Despair;
Delirium (who used to be Delight); Desire; and Destruction. Gaiman
personifies the metaphysical concepts through the use of anthropomorphism
and mixes mythology and history in the narrative. The series also references
popular works such as William Shakespeare’s The Tempest and Aeschylus’
Oresteia. One of the most critically acclaimed graphic novels of all time, The
Sandman has entered the New York Times Best Seller list and continues to
be Vertigo’s most popular series.
 Marjane Satrapi’s Persepolis takes a look at Satrapi’s childhood up until her
young adult years in Iran during the Islamic revolution. Her narratives are
drawn from actual experience, such as the one given in the example. Here,
we could see the young Marji (based on Marjane) struggle with her nation’s
culture (represented by the women who were “guardians of the revolution”)
and that of the Western influence (her Malcolm X pin). By depicting her story
in graphic novel form, she is able to provide the reader with actual visual
representation of what it means to be a young Iranian.
Let’s take a look at this excerpt from the autobiographical graphic novel
Persepolis by Marjane Satrapi.

Post-Activity 1:
What are the differences and similarities of Electronic Literature and Graphic
Literature? (10pts)
Electronic Literature Graphic Literature
Post-Activity 2:
Give 3 examples of each of the following:
1. Genre Fiction
2. New and Emerging Literary Genres
3. Electronic Literature
4. Graphic Literature
References:

Press.

MODULE iiI
LITERARY text IN DIFFERENT
REGIONS
• Identify some of the major literary works from different regions.
• Describe the major literary works from a particular region.
• Appreciate a literary work by analyzing an epic.
LESSON I

LITERARY TEXTS FROM LUZON
Pre-Activity 1:
Name some literary stories/texts from Luzon and share something about these
stories/texts.
Lesson Proper
I. Literary Texts from Luzon

• Luzon is the largest island group in the Philippines. It is divided into eight
regions: Ilocos Region, Cagayan Valley Region, Cordillera Administrative Region
(CAR), National Capital Region (NCR), Bicol Region, Central Luzon, MIMAROPA
(Mindoro, Marinduque, Romblon, and Palawan), and CALABARZON (Cavite,
Laguna, Batangas, Rizal, and Quezon).
• The major regional languages in Luzon are Bikolano, Ilokano, Kapampangan,
Pangasinense, and Tagalog.
• Some ethnic groups that can be found in Luzon are Aetas, Igorots, Ibalois,
Mangyans, Apayaos, Kalingas, and Itnegs.
• Below are some of the major literary works from Luzon:
 Ibalon or Ibalong (Bicol Region)—This is an epic about three heroes—
Baltog, Handiong, and Bantong—who all defeated their adversaries.
 Hudhud (Cagayan Valley Region)—This is an epic chanted by the
Ifugaos during harvest. It is about a folk hero named Aliguyon and his 3-
year battle with Pumbakhayon.
 “The Legend of Maria Makiling” (CALABARZON)—This is a story about
a mountain in Laguna named Makiling that was guarded by a fairy named
Maria. The townsfolk fondly called her Mariang Makiling.
 Biag ni Lam-ang (Ilocos Region)—This is an epic about Lam-ang, a
man with extraordinary strength who sets out to find his missing father
Don Juan.
Biag ni Lam-ang excerpt (Luzon)
Lam-ang told his wife Kannoyan, “And I have a premonition that a monster fish,
berkakan, will catch and eat me up. And for a sign that I have been eaten up, our
staircase will dance, our kasuuran will topple down, and our stove will break to
pieces.” Lam-ang prepared himself for the task the next day. He sought the place
where rarang were abundant. When he saw one creeping at the bottom, he dived
but could not find it. He dived for the second time and fell exactly into the mouth
of a big berkakan.
Analysis:

Despite Lam-ang’s premonition, he proceeded to fulfill the task of fishing for
rarang, which led to his demise. From Lam-ang’s actions, we can infer that aside
from knowing the turn of events, he probably knew that he can still be brought
back to life with the help of his pet dog and rooster, which was why he did not
hesitate to proceed with accomplishing the task.
Post-Activity 1:
Instructions:
1. Form a group with three or four members.

2. Analyze the epic Biag ni Lam-ang.
3. With your group, discuss the answers to the following:
a. Describe Lam-ang and his abilities.
b. What Filipino traits are shown in the story?
c. Describe the plot.
d. Identify and describe the conflict(s) in the story.
e. What is the theme(s)?
4. Present it on class
Post Activity 2:
What are the common characteristics of literary texts from Luzon? (5pts)
References:
Encyclopaedia Britannica Online, s.v. “Luzon,” accessed April 7, 2016,

http://www.britannica.com/ place/Luzon.
Macasantos, Francis C. and Priscilla S. Macasantos, “Philippine Literature in the

Post-war and Contemporary Period,” National Commission for Culture and the
Arts, accessed March 11, 2016,
http://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/literary-arts/
philippine-literature-in-the-post-war-and-contemporary-period/.
LESSON II
LITERARY TEXTS FROM VISAYAS
Pre-Activity 1:
1. Describe the culture of the Visayan people.

2. What are the beliefs of the Visayan?
3. Describe their personalities.
Lesson Proper
Literary Texts from Visayas

• Visayas is the smallest island group in the Philippines. It is divided into three
regions: Western Visayas, Central Visayas, and Eastern Visayas.
• The major regional languages in Visayas are Cebuano, Hiligaynon or Ilonggo,
Kinaray-a, and Waray.
• The seven main islands in Visayas are Bohol, Cebu, Panay, Samar, Negros,
Leyte, and Masbate.
• Below are some of the major literary works from Visayas:
 Hinilawod (Western Visayas)—This is an epic that tells about the
adventures of three demigod brothers, namely, Dumalapdap, Labaw
Donggon, and Humadapnon. This 28,000- verse epic is one of the longest
epics in the world.
 “Sicalac and Sicavay” (Central Visayas)—This is a creation myth about
how man (Sicalac) and woman (Sicavay) came into existence through a
bamboo shoot.
 “Tungkung Langit and Alunsina” (Western Visayas)—This is a creation
myth about the gods Tungkung Langit and Alunsina.
Tungkung Langit and Alunsina (Visayas)
Once upon a time when the earth was but a shapeless, formless void appeared
the god called Tungkung Langit (“ Pillar of Heaven”) and the virgin goddess of
the eastern skies, Alunsina (“ The Unmarried One”).
The old Visayan folklore states that Tungkung Langit fell in love with Alunsina.
After he had courted her for many years, they married and made their home in
the highest part of heaven. There the water was always warm and the breeze
was forever cool, not a bad weather was in sight, and the couple was happy. In
this place in the heavens, order and regularity began.
Tungkung Langit was a loving, hard-working god. He wanted to impose order
over the confused world. He decided to arrange the world so that the heavenly
bodies would move regularly. On the other hand, Alunsina was a lazy, jealous,
selfish goddess. She sat at the window of their home all day doing nothing but
brush her long beautiful hair. Sometimes she would leave her home, sit down by
a pool near the door, and comb her long, jet-black hair all day long. One day
Tungkung Langit told his wife that he would be away for some time. He said he
must make time go on smoothly and arrange everything in the world and did not
return for a long time. Alunsina thought he was off to see a lover, so she
summoned the breeze to spy on Tungkung Langit. Tungkung Langit caught the
spying breeze and he became very angry with Alunsina. After he returned home,
he told her that it was ungodly of her to be jealous since there were no other
gods in the world except the two of them.
Alunsina resented this reproach, and they quarreled all day. In his anger,
Tungkung Langit drove his wife away. And with that, Alunsina suddenly
disappeared, without a word or a trace to where she went. A few days passed,
Tungkung Langit felt very lonely and longed for his wife. He realized that he
should not have lost his temper. But it was too late, Alunsina is gone. Their
home which was once vibrant with Alunsina's sweet voice, his home became
cold and desolate. In the morning when he woke up, he would find himself alone.
In the afternoon when he came home, he would feel loneliness creeping deep
within him.
For months Tungkung Langit lived in utter desolation. Try as he did he could not
find Alunsina. And so in his desperation, he decided to do something to forget his
sorrow and win back his wife’s favor. So he came down to earth and planted
trees and flowers that she may notice it, but she still didn’t come home. Then in
desperation, he took his wife's jewels and scattered them in the sky. He hoped
that when Alunsina should see them she might be induced to return home.
Alunsina's necklace became the stars, her comb the moon, and her crown the
sun. But in spite of all his efforts, Alunsina did not return home. Until now, as the
story goes, Tungkung Langit lives alone in his palace in the skies and
sometimes, he would cry out for Alunsina and his tears would fall down upon the
earth as rain and his loud voice, calling out for his wife, was believed to be the
thunder during storms, begging for her to come back to their heavenly palace
once more.
Analysis:
Although this was a creation myth, the story presented above was applicable to
present-day situation on how gender roles were stereotyped—the woman as
emotional/ jealous, and the man as emotionally distant and responsible (doing
the hard labor).
Post-Activity 1:
Read Tunungkung Langit and Alunsina
Questions:

1. Who are the characters in the story? Describe them in two words.
2. Why did Tungkung get angry with his wife?
3. Do you think Alunsina’s action towards her husband is fair and just?
Support your answer.
4. If you were Tungkung Langit would you have done the same? Explain
your answer.
Post Activity 2: (Group Activity)
1. Choose a famous story in Visayas Region

2. Make a Pop-up book about the story you have chosen
3. Be creative.
References:
Macasantos, Francis C. and Priscilla S. Macasantos, “Philippine Literature in the

Post-war and Contemporary Period,” National Commission for Culture and the
Arts, accessed March 11, 2016,
http://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/literary-arts/
philippine-literature-in-the-post-war-and-contemporary-period/.
LESSON III
LITERARY TEXTS FROM MINDANAO
Pre-Activity 1:
1. Describe the culture of the people in Mindanao.

2. What are the beliefs that originate from Mindanao?
3. Describe their personalities.
Lesson Proper
Literary Texts from Mindanao

• Mindanao is the second largest island group in the Philippines. It is divided into
six regions: Davao Region, Zamboanga Peninsula, Northern Mindanao,
Soccsksargen (South Cotabato, Cotabato, Sultan Kudarat, Sarangani and
General Santos), ARMM (Autonomous Region in Muslim Mindanao), and Caraga
Region.
• The major regional languages in Mindanao are Chavacano, Maguindanao,
Maranao, and Tausug.
• The region is generally inhabited by Muslims. Although they are no longer a
majority, the Islamic culture is still evident.
• Large groups of ethnic minorities can be found in Mindanao, such as Maranao,
Magindanao, Ilanun, and Sangil. These groups are also referred to as Moro.
Meanwhile, the following groups are found in the uplands: the Bagobo, Bukidnon,
Manadaya, Manobo, and Subanon.
• Below are the major literary works from Mindanao:
o Bantugan—This is a Maranao epic that tells about the brave Prince
Bantugan of Bumbaran whom no one dares to challenge. King Madali is
jealous of his brother Bantugan and commands his people not to talk to
Bantugan. This prompts Bantugan to leave their kingdom.
o Ag Tobig nog Keboklagan or The Kingdom of Keboklagan—This is a Subanen epic
that is chanted or performed during their week-long buklog festival. It tells the life
and adventures of an extraordinary hero named Taake.
o Ulahingan—This is a Manobo epic about Agyu and his family who fled due to a
conflict with their rulers. A fairy guides them and promises to grant them
immortality after they surpass various challenges.
o Indarapatra at Sulayman—This is an epic about four creatures that came to wreak
havoc in Mindanao. King Indarapatra sends his brother Prince Sulayman to save
the land from the creatures.
o Tuwaang Attends a Wedding—This is a Bagobo epic about a hero named
Tuwaang who attends the wedding of the Maiden Monawon.
Tuwaang Attends a Wedding by E. Arsenio Manuel
Tuwaang received a message of invitation from the wind saying that he

should attend the long waited wedding of the Dalaga ng Monawon.His aunt
warned him not to go but he insisted. Tuwaang just shrugged his shoulder and
prepared to attend the grand wedding. He wore the clothes the goddesses made
for him. He got the heart-shaped basket that could make the lightning move. He
took along with him his sharp spear and shield and the long knife.
He rode in the lightning and he soon reached the beautiful boundless plain
of Kawkawangan. There, he found a Gungutan, a bright colored bird that could
talk. The bird wanted to go with him to the grand wedding so he took it along with
him. When they reached the town of Monawon, they were politely let into the hall
where the wedding would take place.The guests started coming one by one.
First to come was the young Binata ng Panayangan, then the charming
Binata ng Sumisikat na Araw. Last to come was the groom, the Binata ng
Sakadna who was with his one hundred well trained men. As soon as he arrived,
the groom ordered all his men to drive away the guests who should not be there
or those uninvited guests. Insulted, Tuwaang told the groom that they, the guests
were all pulang dahon, which meant heroes.
In short time, the ceremony started with the guests being offered several
precious things that they should top with what they had. Two were left for the
groom but the Binata ng Sakadna admitted that he didn’t have a gold flute and a

gold guitar to top what were left. Tuwaang came to the quick rescue. With his
mysterious breath, he produced a gold flute, guitar and gong.
The beautiful bride came out of her room and started offering a bowl
containing nganga to every guest. Then she sat beside Tuwaang that put the
groom in a very embarrassing situation. The groom felt insulted and degraded.
He went out the hall and challenged Tuwaang to a fight.Tuwaang accepted the
challenge but the bride held him and combed his hair dearly. Tuwaang stared at
the bride and saw her feelings for him.
‘Be careful out there. The bride warned him. He does not know how to
fight fairly.’ Tuwaang held the bride and kissed her. ‘For you my lady, I will be
careful’ said he who went outside the hall to start the fight.Tuwaang and the
Gungutan fought the Binata and Sakadna and his hundred men. They fought with
each other and after a short time, Tuwaang and the Gungutan defeated 94 men.
They easily defeated the six remaining men and after a while, only Tuwaang and
the Binata ng Sikadna were left.
The groom threw a big boulder on Tuwaang but it became dust even
before it hit Tuwaang. An earthquake happened because of the bloody fight. All
the trees were uprooted. The groom took Tuwaang ang threw him at the ground
until Tuwaang reached Hades. In Hades Tuwaang saw Tuhawa, the god of
Hades. Tuhawa told him that the groom’s life is in the golden flute. Tuwaang rose
from the ground then he got hold of the golden flute and broke it.
After that, he kissed and hugged the bride. And because of his triumph,
the Dalaga of Monawon accepted Tuwaang’s invitation for their own wedding.
They went to Kuaman and lived happily ever after.
Post-Activity 1:
Direction: Read the story entitled, Tuwaang Attends a Weddingby E. Arsenio
Manuel and arrange the following events in order of the occurrence. (1-10)
___ The ceremony started with the guests being offered several precious things
that they should top with what they had.
___ They easily defeated the six remaining men and after a while, only Tuwaang
and the Binata ng Sikadna were left.
___ He found a Gungutan, a bright colored bird that could talk.
___ Tuwaang received a message of invitation from the wind saying that he
should attend the long waited wedding of the Dalaga ng Monawon
___ Tuwaang rose from the ground then he got hold of the golden flute and
broke it.
___ The beautiful bride came out of her room and started offering a bowl
containing nganga to every guest.
___ He rode in the lightning and he soon reached the beautiful boundless plain of
Kawkawangan.
___ Tuwaang and the Gungutan fought the Binata and Sakadna and his hundred
men.

___ The groom took Tuwaang ang threw him at the ground until Tuwaang
reached Hades.
___ First to come was the young Binata ng Panayangan, then the charming
Binata ng Sumisikat na Araw.
Post Activity 2:
Describe the following characters:
1. Tuwaang
2. Binata ng Sakadna
3. Dalaga ng Monawon
Reference:
Encyclopaedia Britannica Online, s.v. “Mindanao,” accessed April 7, 2016,

http://www.britannica. com/place/Mindanao.

MODULE IV
literature from
the world
 Identify some of the notable American authors and their literary works from the
nineteenth century to post–World War II.
 Identify the literary movements or periods in American literature: American
renaissance, romanticism, realism, modernism, and postmodernism.
 Identify the different literary periods of the Western tradition.
 Identify the literary forms of Japanese Literature
 Examine the texts in terms of literary traditions.
 Identify representative texts andExplain the texts in terms of their literary
LESSON I
AMERICAN LITERATURE
Pre-Activity 1:
What are the influences of the Americans to the Filipinos?

?
Lesson Proper:
I. Colonial and Revolutionary Periods

A. Colonial Period
• The first writers of American literature were Englishmen.
• The beginning of American literature was credited to John Smith, captain of
Jamestown Colony. His works include A True Relation of Virginia (1608) and The
Generall Historie ofVirginia, New England, and the Summer Isles (1624). These
texts were focused on exploiting the colonies to Englishmen.
• Puritanism was a religious movement within the Church of England. Its main
purpose was to eradicate the doctrines of the Roman Catholic church. The
Puritans attempted to establish a theocratic government in America. (Theocracy
refers to a government ruled by religious leaders or by officials who are seen as
guided by the divine.)
• Discourse about the separation of the state and the church arose. Nathaniel
Ward, a Puritan minister, wrote The Simple Cobbler of Aggawam in America
(1647), in which he defended the current state of affairs and complained about
colonists who subsidized modern philosophies. Several counterarguments
emerged, such as John Winthrop’s journal (1630–1649), in which the
Massachusetts Bay Colony’s attempt to establish a theocratic movement was
exposed.
• Basically, American literature during the colonial period was composed of
biographies, narrations about expeditions, and sermons, among others.
• During the colonial period, American writings were patterned on that of the
British—AnneBradstreet’s poetic style and William Bradford’s “cadences of the
King James Bible” (Britannica).
• Some notable works during this period include Anne Bradstreet’s The Tenth
Muse Lately Sprung Up in America (1650), William Bradford’s Of Plymouth
Plantation (1646), andMichael Wigglesworth’s The Day of Doom (1662).
B. Revolutionary Period
• During the American Revolution (1775–1783), poetry became a weapon of
protest.

• Philip Freneau was a notable poet during this period. Some of his works include
“The Wild Honey Suckle” and “The Indian Burying Ground.”
• It was during this time that the first novel was produced—William Hill Brown’s
The Power of Sympathy (1789). Gothic narratives also existed, with the
prominent being CharlesBrockden Brown’s Edgar Huntly (1799) and Wieland
(1798).
• Below is Freneau’s poem “The Wild Honey Suckle”:
“The Wild Honey Suckle”
Fair flower, that dost so comely grow,

Hid in this silent, dull retreat,
Untouched thy honied blossoms blow,
Unseen thy little branches greet:
No roving foot shall crush thee here,
No busy hand provoke a tear.
By Nature’s self in white arrayed, She

bade thee shun the vulgar eye, And
planted here the guardian shade, And
sent soft waters murmuring by;
Thus quietly thy summer goes,
Thy days declining to repose.
Smit with those charms, that must decay, I

grieve to see your future doom;
They died—nor were those flowers more gay,
The flowers that did in Eden bloom;
Unpitying frosts and Autumn’s power
Shall leave no vestige of this flower.
From morning suns and evening dews

At first thy little being came;
If nothing once, you nothing lose,
For when you die you are the same;
The space between is but an hour,
The frail duration of flower.
II. American Renaissance
Romanticism
• The end of the American Revolution marked the beginning of the romanticist
movement.
• Romanticism was a period when the United States was trying to rebuild its
identity as a nation apart from the British rule.

• Romanticism was an artistic, literary, and intellectual movement that spanned
from the late eighteenth century to the early nineteenth century. It was chiefly
characterized by the following:
◦ intense emotion (emotion over reason);
◦ self-expression;
◦ individual uniqueness;
◦ acclamation of a primitive or a commoner (commoner as a hero);
◦ deepened appreciation of nature (nature as a source of knowledge and
spirituality);
◦ heightened imagination; and
◦ escapism (seeking distraction from everyday reality).
• Writers produced works that are native in nature. Some of these writers include
William Cullen Bryant (Thanatopsis), James Fenimore Cooper (The Last of the
Mohicans), Washington Irving (The Legend of Sleepy Hollow), and Edgar Allan
Poe (The Raven).
Brahmins
• Oliver Wendell Holmes, Henry Wadsworth Longfellow, and James Russell
Lowell—collectively called as the Brahmins—dominated the literary scene.
• The name “Brahmins” was coined based on the highest caste (Brahmin or
Brahman) in Hindu society. It refers to the abovementioned Europe-educated
aristocrats who then became professors at Harvard University.
• The Brahmins became the “arbiters of literary taste” and were responsible for
transforming Boston into the literary capital of America.
• They were interested in producing refined American literature based on foreign
models. Although their works supported democratic concepts, they maintained
conservative philosophies.
• Some of their notable works include Holmes’s “Breakfast Table” series (1888–
1891), and Lowell’s The Biglow Papers (1848–1867) and “Harvard
Commemoration Ode” (1865)
Transcendentalism
• The American renaissance gave birth to transcendentalism, a movement led by
Ralph Waldo Emerson. In 1835, Emerson moved to Concord, Massachusetts,
where his friendship with Bronson Alcott, Margaret Fuller, Nathaniel Hawthorne,
and Henry David Thoreau began.
• Transcendentalism emerged from Unitarianism, an ideal that emphasized the
“unity” of God, contrary to the “trinity.” Unitarianism believed in the “essential
unity of all creation, the innate goodness of man, and the supremacy of insight
over logic and experience for the revelation of the deepest truths” (Augustyn, p.
231).
• Transcendentalists rejected the tenets of Unitarianism. Instead, they pushed for
reformative movements that focused on “anarchistic, socialistic, and communistic
schemes for living” (Britannica).
• The Dial (1840–1844) was a transcendentalist literary magazine, first edited by
MargaretFuller, which published the works of the early transcendentalists.
• Some notable literary works of transcendentalism are Ralph Waldo Emerson’s
Nature (1836), “Self-Reliance” (1841), “Divinity School Address” (1838), “The
Over-Soul” (1841), and “The American Scholar” (1837); Margaret Fuller’s
Woman in the Nineteenth Century (1845); and Henry David Thoreau’s Walden,
or Life in the Woods (1854), A Week on the Concord and Merrimack Rivers
(1849), and “Civil Disobedience” (1849).
American Abolitionist Movement

• The American abolitionist movement was an effort to emancipate African
slaves. Slave narratives were prevalent during this period.
• William Lloyd Garrison founded the American Anti-Slavery Society (1833–
1970). He also founded The Liberator in 1831, wherein he expressed and
published his perception about the immediate release of the African slaves,
“without colonization of the freed or compensation for their masters” (Gray, p.
70).
• Some of the important persons who joined the movement were Theodore
Dwight Weld, Theodore Parker, John Greenleaf Whittier, James Russell Lowell,
Lydia Maria Child, Frederick Douglass, and William Wells Brown.
• Some of the notable works include Harriet Beecher Stowe’s Uncle Tom’s Cabin
(1852), Frederick Douglass’s Narrative of the Life of Frederick Douglass, an
American Slave (1894), and John Greenleaf Whittier’s “First-Day Thoughts”
(1857) and Snow-Bound (1866).
• Other remarkable authors who have emerged during the American renaissance
were Nathaniel Hawthorne (The Scarlet Letter [1850] and The House of the
Seven Gables [1851]), Herman Melville (Moby-Dick [1851]), and Walt Whitman
(Leaves of Grass [1819–1892]).
• Below is Whitman’s poem “When I Heard the Learn’d Astronomer”:
When I heard the learn’d astronomer,

When the proofs, the figures, were ranged in columns before me,
When I was shown the charts and diagrams, to add, divide, and measure
them,
When I sitting heard the astronomer where he lectured with much
applause in thelecture-room,
How soon unaccountable I became tired and sick,
Till rising and gliding out I wander’d off by myself,
In the mystical moist night-air, and from time to time,
Look’d up in perfect silence at the stars.
III. Realism
• Realism is an attempt to depict people and events as they are in real life. It is
characterized by an attempt to replicate real life, the use of vernacular language,
the importance of setting or place, and the presentation of American domestic
life, among others.

• As a response to the American industrialization, regional writers emerged,
infusing “localcolor” into their works. Regionalism, or local color, is a style of
writing that focuses on the characteristics of a specific locale and its inhabitants.
• One of the most noteworthy writers during this period was Mark Twain. His
greatest work, The Adventures of Huckleberry Finn (1885), a sequel to The
Adventures of Tom Sawyer(1876), was about “the historical injustice of slavery
and the social inequity of racism, the human use or denial of human beings”
(Gray, p. 117).
• Some notable works during this period include Henry James’s The American
(1877); Kate Chopin’s The Awakening (1899); Mark Twain’s Life on the
Mississippi (1883); and William Dean Howells’s Their Wedding Journey (1872),
Annie Kilburn (1888), and A Hazard ofNew Fortunes (1890).
Naturalism
• Naturalism is a dark and scientific form of realism. Naturalist writers exposed
the darker side of life to improve human conditions.
• Works that illustrate naturalism are usually characterized by the following:
◦ pessimism;
◦ determinism;
◦ objectivity (the tone of the narrator is objective, detaching from the story);
and
◦ “survival of the fittest.”
IV. Modern and Postmodern Periods
A. Modern Period
• Modernist literature is characterized by the characters’ stream of consciousness
(or interior monologue) and reminiscence, and it also incorporates fragments of
thought. Often, it lacks dialogues, as the reader is taken into the depths of each
character’s thoughts and self-reflections.
• Additionally, it presents the complexity of a character’s mind, constantly shifting
from outward reality to his or her consciousness through reminiscence.
• Some notable works during this period are F. Scott Fitzgerald’s The Great
Gatsby (1925), William Faulkner’s “A Rose for Emily” (1930), Ezra Pound’s “The
Garden” (published in Lustra in 1916), and T.S. Eliot’s The Waste Land (1922).
• Below is an excerpt from The Great Gatsby by F. Scott Fitzgerald:
Excerpt from The Great Gatsby by F. Scott Fitzgerald
He sat down miserably, as if I had pushed him, and simultaneously there was the
sound of a motor turning into my lane. We both jumped up, and, a little harrowed
myself, I went out into the yard.
Under the dripping bare lilac-trees a large open car was coming up the
drive. It stopped.Daisy’s face, tipped sideways, beneath a three-cornered
lavender hat, looked at me with a bright ecstatic smile.
‘Is this absolutely where you live, my dearest one?’
The exhilarating ripple of her voice was a wild tonic in the rain. I had to
follow the sound ofit for a moment, up and down, with my ear alone, before any
words came through. A damp streak of hair lay like a dash of blue paint across
her cheek, and her hand was wet with glistening drops as I took it to help her
from the car.
‘Are you in love with me,’ she said low in my ear, ‘or why did I have to
come alone?’
‘That’s the secret of Castle Rackrent. Tell your chauffeur to go far away
and spend anhour.’
‘Come back in an hour, Ferdie.’ Then in a grave murmur: ‘His name is
Ferdie.’ ‘Does the gasoline affect his nose?’
‘I don’t think so,’ she said innocently. ‘Why?’
We went in. To my overwhelming surprise the living-room was deserted.
‘Well, that’s funny,’ I exclaimed.
‘What’s funny?’
She turned her head as there was a light dignified knocking at the front
door. I went outand opened it. Gatsby, pale as death, with his hands plunged like
weights in his coat pockets, was standing in a puddle of water glaring tragically
into my eyes.
With his hands still in his coat pockets he stalked by me into the hall,
turned sharply as if hewere on a wire, and disappeared into the living-room. It
wasn’t a bit funny. Aware of the loud beating of my own heart I pulled the door to
against the increasing rain.
For half a minute there wasn’t a sound. Then from the living-room I heard
a sort ofchoking murmur and part of a laugh, followed by Daisy’s voice on a clear
artificial note:
‘I certainly am awfully glad to see you again.’
A pause; it endured horribly. I had nothing to do in the hall, so I went into
the room.
Gatsby, his hands still in his pockets, was reclining against the
mantelpiece in a strainedcounterfeit of perfect ease, even of boredom. His head
leaned back so far that it rested against the face of a defunct mantelpiece clock,
and from this position his distraught eyes stared down at Daisy, who was sitting,
frightened but graceful, on the edge of a stiff chair.
‘We’ve met before,’ muttered Gatsby. His eyes glanced momentarily at
me, and his lipsparted with an abortive attempt at a laugh. Luckily the clock took
this moment to tilt dangerously at the pressure of his head, whereupon he turned
and caught it with trembling fingers and set it back in place. Then he sat down,
rigidly, his elbow on the arm of the sofa and his chin in his hand.
‘I’m sorry about the clock,’ he said.
My own face had now assumed a deep tropical burn. I couldn’t muster up
a singlecommonplace out of the thousand in my head.
‘It’s an old clock,’ I told them idiotically.
I think we had all believed for a moment that it had smashed in pieces on
the floor.
‘We haven’t met for many years,’ said Daisy, her voice as matter-of-fact as
it could ever be.
‘Five years next November.’
The automatic quality of Gatsby’s answer set us all back at least another
minute. I hadthem both on their feet with the desperate suggestion that they help
me make tea in the kitchen when the demoniac Finn brought it in on a tray.
B. Postmodern Period
• Postmodernist literature is characterized by pastiche, intertextuality,
antinarrative, hyperrealism, and metafiction, among others.
• Some postmodernist writers tend to “borrow” concepts or ideologies from the
works of other writers to add more profound meanings in their texts. When you
read those texts, considering that you are also familiar with the works the
postmodernist writers have utilized, they convey various meanings, usually
different from the source texts. Simply put, intertextuality (coined by Julia
Kristeva in the 1960s) refers to the relationship between texts, how they are
similar or different, and how one influences the other to produce different
meanings or interpretations.
• A form of intertextuality is pastiche, in which a text is obviously drawn from or
influenced by different source texts. An example of this is David Mitchell’s Cloud
Atlas (2004) wherein he uses six fictional genres in one novel, including
cyberpunk, period,sci-fi, and mystery.
• Jean Baudrillard, a French author and philosopher, was the proponent of the
concepts “hyperreality” and “simulacrum,” which have influenced postmodernist
literary works and criticisms. In some postmodernist texts, authors employ
hyperreality, which dissolves the demarcation between the real and the
imaginary. The concept of hyperreality suggests that in the attempt to create
reproductions of events, experiences, objects, etc., these copies become the
preferred realities over the actual reality.
• Most postmodernist texts are antinarrative. An antinarrative refers to a narrative
that questions or avoids the normative concepts of a narrative (such as
coherence in plot). Oftentimes, it is up to the readers to make sense of the
fragmented narratives. This novel explored the layers of reality and identity,
posing questions about what is real. This novel also has other works of fiction
within it, which is one of the features of metafiction.
• Some notable postmodernist works are John Hawkes’s The Lime Twig (1961),
Donald Barthelme’s Snow White (1967), John Barth’s The End of the Road/
Post-Activity 1:
Read the excerpt, The Great Gatsby.

Directions: Complete the chart for each character. For the Descriptive Phrase
and Memorable Quote columns, choose direct quotes from the excerpt, the Great
Gatsby.
Descriptive Memorable First One Word Relationship

Phrase Quote Impression Description to other
Characters
Nick
Carraway
Daisy
Buchanan
Tom
Buchanan
Jordan
Baker
Reference:
Echevarría, Roberto González, “Latin American Literature—The 18th Century,”

Encyclopedia Britannica Online, accessed March 31, 2016,
LESSON II
ASIAN LITERATURE
Subtopic:
 Indian Literature
 Thai Literature
 Indonesian Literature
 Chinese Literature
Pre-Activity 1
Describe the different countries in terms of culture, religion, language, etc.

INDONESIA SOUTHEAST ASIAN COUNTRY
Lesson Proper:
Indian Literature

Most literary forms and works in Indian literature incorporate philosophical and
religious concepts. Often, these works are viewed as extensions of Hindu
teachings.
• Considered to be the oldest Hindu writings, the Vedas (meaning “knowledge” in
Sanskrit) are a collection of sacred books written in Sanskrit. There are four
Vedas:
◦ Rig Veda (“knowledge of the verses”)—a collection of 1,028 sacred hymns and
is divided into ten books called Mandalas
◦ Yajur Veda (“knowledge of the sacrifice”)—a handbook for priests in the
performance of sacrificial rituals
◦ Sama Veda (“knowledge of the melodies”)—a collection of chants and melodies
drawn from the Rig Veda and are to be sung during worship
◦ Atharva Veda (“knowledge of the fire priest”)—a collection of charms, spells,
and hymns, largely outside of the scope of worship and Vedic sacrifice
• Mahabharata and Ramayana are two great Sanskrit epics in Indian literature.
• Mahabharata, whose authorship is traditionally attributed to Vyasa, is
composed of about one hundred thousand couplets divided into eighteen
sections, making it longer than Homer’s Iliad and Odyssey combined.
Mahabharata focuses on the conflict between the Pandava and the Kaurava
princes.
• Ramayana, written by the poet Valmiki, contains twenty-four thousand couplets
divided into seven books. It centers on the life and adventures of the couple
Ramachandra and Sita.
• The origins of the Indian drama were attributed to the Hindu deities. It was
believed that Brahma, the creator, created drama to please the deities; Shiva, the
destroyer, introduced dance; and Vishnu, the preserver, introduced the four types
of drama.
• Four types of ancient Indian drama:

◦ Nataka—inspired by the epics Mahabharata and Ramayana; the highest
form of drama
◦ Prakaranas—inspired by the daily life of mortals, including their virtues
and weaknesses
◦ Prahsanas—inspired by the lower castes’ ridicule of the upper class
◦ Yatra—inspired by the lewd escapades of the deity Krishna, as told by
the traveling bards
• Bhavabhuti, Harsha, and Kalidasa were renowned Sanskrit writers.
• Kalidasa wrote Abhijñanashakuntala, or simply Shakuntala. It is a play about
the love story of Shakuntala and King Dushyanta from the epic Mahabharata. Sir
William Jones translated it to English.
• Bhavabhuti was known for his three plays, namely Mahaviracharita,
Malatimadhava, and Uttararamacharita.
• Harsha was an Indian emperor and a poet. He wrote Nāgānanda, Priyadarśikā,
and Ratnāvalī.
• Some of the notable contemporary authors of Indian literature include Arundhati
Roy and Rabindranath Tagore. Roy was known for her famous novel, The God of
Small Things (1997). It won the Man Booker Prize for Fiction in 1997. Meanwhile,
Tagore was awarded with the Nobel Prize in Literature in 1913. Some of his
remarkable works include Mānasī (1890), Chitrāṅgadā (Chitra, 1892), and Sonār
Tarī (The Golden Boat, 1894).
Thai Literature
• The earliest form of Thai literature existed during the Sukhothai period (from the
thirteenth to the fourteenth century). These works were carved in stones,
providing descriptions of how life was back then. The Ram Khamhaeng is
distinguished among these stone inscriptions, written by King Ram Khamhaeng
himself, which is about the economic condition of the kingdom during his rule.
• During the Ayutthaya period (1351−1767), written verses emerged, focusing on
religion,history, and romance, among others. Some examples include “Maha
chat” (“The Great Birth”), “Lilit Yuan phai” (“The Defeat of the Yuan”), and “Lilit
phra Lo” (“The Story of Prince Lo”).
• The renaissance of Thai literature began during King Narai’s reign
(1656−1688). The royal court recognized writers, and various writing genres
developed, such as nirat poems. These poems focus on “journeying, separating,
and love-longing” (David Smyth, EncyclopaediaBritannica). One of the
noteworthy works is “Nirat khlong kamsuan” (“A Mournful Journey”) by Si Prat, a
personal account of the author’s journey into exile.
• When Thailand recovered from the defeat it suffered from Myanmar’s
Hsinbyushin (1767), significant literary texts were rewritten, such as Ramakien,
Thailand’s national epic based on Ramayana; Sunthorn Phu’s Phra Aphai Mani;
and Khun Chang Khun Phaen, an epic based on amorous and military feats
(Smyth, Encyclopaedia Britannica).
• In the twentieth century, translated works of Western texts dominated the
literary scene (e.g., works of Marie Corelli, Arthur Conan Doyle, Anthony Hope).
Series stories surfaced by the mid-1920s, chiefly focusing on “rich girl meets
poor boy” narratives, or vice versa, which usually have a happy ending.
• Notable works such as Akatdamkoeng Raphiphat’s Lakhon haeng chiwit (The
Circus Life), Siburapha’s Songkhram chiwit (The War of Life), and K.
Surangkhanang’s Ying khon chua(The Prostitute) were examples of narratives
that tackle social issues, which blossomed
during the latter part of the 1920s.
• By the 1940s, writers were producing works influenced by social realism. These
works commonly reflect social injustice. Meanwhile, freedom of speech was
suppressed from the 1950s to the 1960s, which was considered as a “dark age”
of Thai literature. Escapist fiction, one that allows the reader to escape his
everyday reality, was the only literary genre to have survived. It was also referred
to as “stagnant water literature.” The most successful among these escapist
writers was Khamsing Srinawk, who, under the pen name Lao Kham Hom, wrote
the masterpiece, Fa bo kan (The Politician and Other Stories), which was able to
conceal the true nature of the reality it was trying to portray but managed to
deliver a transgressive message. In 1992, the award for National Artist of
Thailand was bestowed on Khamsing Srinawk.
• Social realism was rediscovered in the late 1960s, paving the way for “literature
for life.” This movement played a significant role in helping to overthrow the
military government in 1973.
• Chart Korbjitti proved to be successful among his contemporaries in terms of
commercial and artistic accomplishments. His notable works include Chon trork
(The End of the Road, 1980) and Kham phiphaksa (The Judgment, 1982).
Indonesian Literature
• Indonesian literature is composed of oral and written works. The modern
Indonesian literature was characterized by works with Western influences, which
have emerged in the twentieth century.
• Prose narratives vary and are influenced by Indian literature and those of the
neighboring countries. They usually focus on “beast fables,” legends, riddles,
adventure stories, and more.
• Texts were written in various languages, chiefly in Javanese and Malay.
• Early Javanese literature works existed between the ninth and the tenth century CE. Proseand
poems were prevalent, which merely served as varieties of the famous Indian
epics, Mahabharata and Ramayana. Moreover, the Javanese adapted the
Sanskrit court poetry and developed it as their own.
• The onset of Dutch colonization from the eighteenth to the nineteenth century
led to the decrease in Javanese and Malay works.
• The nationalist movement and the development of Bahasa Indonesia as the
national language were associated with modern Indonesian literature.
• Some of the modern writers include Muhammad Yamin, Abdul Muis, Chairil
Anwar, and Pramoedya Ananta Toer.
• When Suharto rose to power in 1965, the government ordered censorship and
suspended the freedom of expression in literary works. The situation of the
writers eased when he resigned in 1998.
II. Chinese Literature

This chapter will focus on the literary forms that have emerged during the Tang
dynasty (AD 618–960). Additionally, this chapter will include a brief overview of
Confucian literature.
• Chinese literature, especially poetry, flourished during the Tang dynasty.
• Lüshi (“regulated verse”) was a rigid alternative to gushi. It is composed of eight
lines with five to seven characters. In addition, it follows a certain format: the first
two lines should focus on the exposition. As the theme progresses, the structure
(body, second, and third couplets) should be parallel; the conclusion should be
apparent in the final couplet. (Gushimeans “ancient style poetry,” which has a
lesser metrical limitation and a more extensive rhyme than yuefu; yuefu refers to
poems based on folk-ballad tradition. The term yuefu
means “music bureau,” which Emperor Wudi established to collect songs and
their scores “for ceremonial occasions in court.”)
• Jueju (“severed sentence”) is a concise form of lüshi. Instead of eight lines, it is
composed of a quatrain. It maintains the tonal quality of lüshi but removes either
the first or the last four lines.
• Ci is a song-like poem, or lyric poem, with uneven lengths of lines. It has
rhythmic and tonalpatterns that are musical in nature. The ordinary people were
the first to sing a ci, but it waspopularized by professional women singers during
the Tang dynasty. Li Yu, the last ruler of Nan, was the greatest among ci poets.
• Bianwen is a combination of prose and poetry, retelling Buddha’s life. It was
believed to be the earliest form of vernacular prose, as Buddhist missionaries
employed a manner of storytelling using a common language that was
understood by everyone to channel their messages.
• Han Yu led the movement that encouraged writers to look up to Zhou philosophers and Han
authors as models for writing in prose, instead of complying with the limitations of
pianwen(“parallel prose”). The reform was liberating, leading to a modern style of
prose writingwherein writers can freely create texts in various lengths and
patterns. Some importantauthors of this mode include Liu Zongyan, Shen Yazhi,
and Bai Xingjian. (Pianwen ischaracterized by unconventional structure and
balanced but nonrhyming patterns. It wasgenerally used in addressing religious
issues or philosophical arguments.)
• Some of the notable writers during this period include Wang Wei, Du Fu, and Li
Bai. Du Fu’sfamous works include “Bingqu xing” (“The Ballad of the Army Carts”)
and “Liren xing” (“The Beautiful Woman”).
• Below are examples of Li Bai’s poems, as translated by the celebrated
American poet Ezra Pound.
Taking Leave of a Friend

Blue mountains to the north of the walls,
White river winding about them;
Here we must make separation
And go out through a thousand miles of dead grass.
Mind like a floating wide cloud,

Sunset like the parting of old acquaintances Who
bow over their clasped hands at a distance. Our
horses neigh to each others as we are departing.
The Jewel Stairs’ Grievance

The jeweled steps are already quite white with dew,
It is so late that the dew soaks my gauze stockings,
And I let down the crystal curtain
And watch the moon through the clear autumn.
Confucian Literature
• Confucian literature was considered as the earliest form of literature, which has
existed even before the Qin dynasty. Some texts were attributed to Confucius
himself, while some were regarded as those of his followers. The two most
important texts of the Confucian literature include the Five Classics or Wujing
and The Analects. The Analects are a collection of sayings and/or teachings of
Confucius, his contemporaries, and followers.
• The Five Classics contain the norms of Chinese society.
◦ Shijing (“Classic of Poetry”) is the earliest collection of poetry, comprising
roughly threehundred poems.
◦ Yijing (“Book of Changes”) is an ancient divination text that existed
during the Zhoudynasty. The writers of the Warring States period
attempted to explain the world and its moral principles through the
commentaries found in additional sections of the text.
◦ Shujing (“Book of Documents”) is a compilation of the ancient history of
China, whichincludes philosophies and recollections of the great deeds of
the rulers.
◦ Liji (“Book of Rites”) is a collection of texts about ethics in rituals, music,
education, etc. Itwas written during the Warring States period. Dai De and
his nephew Dai Sheng compiled the chapters of the texts.
◦ Chunqiu (“Spring and Autumn Annals”) is a chronological history of the
state of Lu. Itcontains monthly narrations of important events during the
rule of the twelve leaders of Lu.
Post-Activity 1
Direction: Enumerate the following:
(a) Four Vedas

(b) Types of Ancient Indian Dramas
(c) The Five Classics
References:
Encyclopaedia Britannica Online, s.v. “Indonesian literature,” accessed April 22,

2016, http://www.britannica.com/art/Indonesian-literatures.
“Mahabharata,” last modified February 19, 2015, accessed April 12, 2016,
http://www
.britannica.com/topic/Mahabharata.
“Ramayana,” last modified February 27, 2015, accessed April 12, 2016,
http://www
.britannica.com/topic/Ramayana-Indian-epic.
LESSON III
JAPANESE LITERATURE

Pre-Activity
Tell something about the following pictures:
Lesson Proper
Japanese Literature
• The Kojiki (Records of Ancient Matters) and Nihon shoki (Chronicles of Japan)
comprise the oldest written documents about the history of Japan. Consisting of
three books, Kojiki (completed in AD 712) is a compilation of myths about the
origins of the islands of Japan, and of the genealogy of the imperial family. Nihon
shoki (completed in AD 720), a collection of thirty books written in Chinese,
contains the complete existing historical records of Japan, chronicling the reigns
of emperors of Japan from the earliest times to AD 697.
• The oldest existing anthology of Japanese poetry, Man’yōshū (Collection of a
Myriad Leaves), was produced during the Asuka and Nara periods (AD 538–
794). Man’yōshū is a collection of more than 4,500 poems, in twenty volumes,
written in various forms and lengths.
• The Kokin Wakashū or Kokinshū (Collection of Ancient and Modern Poems), is
a collection of 1,111 poems completed in AD 905 during the Heian period (AD
794–1185).
• Most literary works in the Heian period were dominated by noble women and
their culture. Lady Murasaki Shikibu wrote Genji monogatari (The Tale of Genji),
which was considered to be the world’s first novel. Sei Shōnagon, another
famous court lady, wrote the Makura nososhi (The Pillow Book), which was a
detailed record of life at the Japanese imperial court.
• Tanka (“short song”) is a five-line poem with thirty-one syllables and follows a
5–7–5–7–7 pattern. Ono no Komachi, one of Japan’s greatest female poets of
the Heian period, was renowned for her poems in tanka form. Here is an
example:
The flowers withered

Hana no iro wa Their color faded away
Utsurinikeri na While meaninglessly
Itazura ni I spent my days in the world
And the long rains were falling
—Translated by Donald Keene
Wa ga mi yo ni furu
Nagame seshi ma ni
—Ono no Komachi
• Haiku is a traditional Japanese poem that gained recognition during the Edo or
Tokugawaperiod (1603–1868). It is a short verse composed of three lines with
five, seven, and five syllables, respectively, making a total of seventeen syllables.
Haiku, unlike conventional Western poetry that focus heavily on rhythm and
meter, depends on the melodic syllable count and ignores rhyme. Its subjects are
often about the essence of life, a feeling or an emotion, and the beauty of nature.
Kigo is an important element of a haiku. It is a word or a phrase that indicates the
season a haiku is written.
• Matsuo Bashō (1644–1694), a Japanese poet in the seventeenth century, was
consideredthe greatest master of the haiku. Other great haiku poets include Yosa
Buson (1716–1783) and Kobayashi Issa (1763–1827).
• Here are some examples of famous haikus:
furu ike ya The quiet pond

kawazu tobikomu A frog leaps in,
mizu no oto The sound of the water.
—Matsuo Bashō —Translated by Edward Seidensticker
yuki tokete The snow is melting

mura ippai no and the village is flooded
kodomo kana with children.
—Kobayashi Issa —Translated by Robert Hass
Japanese traditional theater is chiefly characterized by movement and dance.

Two of themost popular forms of traditional Japanese theater are the Noh and
the Kabuki.
Noh
• Noh is the oldest existing form of Japanese theater, having started in the
fourteenth century. It was a combination of dance, music, and drama.
• It is characterized by the slow movement of the characters, poetic dialogues,
andmonotonous tone.
• The main plot varies from legends/mythologies to historical events to current
events.
• Noh characters wear costumes that are heavy, colorful, and have intricate
details/design, among others. The main character of the play, shite, wears a
mask. The mask tells the audience what role or character the shite was trying to
portray. Below are the following characters in Noh theater (note that these roles
are all portrayed by men):
◦ shite—leading character; portrays a demon, deity, spirit, living man, etc.
◦ waki—supporting character; portrays a samurai, monk, etc.
st
◦ hayashi—musicians; provide musical accompaniment for the act
◦ jiutai—the narrators; assist the shite in narrating the story
◦ koken—stage crew; assist the performers
• Zeami Motokiyo, a playwright, popularized Noh during the Muromachi period
(1333−1573). Along with his father, Kan’ami, they were noted as the founders of
Noh theater.
• There are six types of Noh plays:
◦ kami (“god”)—sacred stories about deities
◦ shura mono (“battle play”)—warrior stories
◦ katsura mono (“woman play”)—a woman is the central character of the
story
◦ gendai mono (“present-day play”)—narratives are modern and realistic
◦ kyojo mono (“madwoman play”)—stories involving loss of a child that led
to theprotagonist’s insanity
◦ kichiku (“demon”)—features beasts or evil creatures
• Some of the notable Noh plays include Kan’ami’s Matsukaze (Wind in the
Pines); Zeami Motokiyo’s Kakyō (The Mirror of the Flower), Sandō (The Three
Ways), Takasago, and Izutsu(The Well Head); and Komparu Zechiku’s Yōkihi.
• Some of the famous Noh playwrights include Komparu Zenpō, Komparu
Zenchiku, andKanze Kojiro Nobumitsu.
• The United Nations Educational, Scientific and Cultural Organization
(UNESCO) listed Nôgaku Theater, which covers Noh and Kyôgen, as one of the
Masterpieces of the Oral and Intangible Heritage of Humanity in 2001. (Kyôgen is
a comical piece performed during intervals in a Noh play.)
Kabuki
• Kabuki originated in Kyoto. It is a combination of singing, dancing, and acting. It
is known for the actors’ exaggerated manner of presentation.
• The actors wear white makeup with odd details, big and peculiar wigs, and
elaborate costumes.
• The main plot usually includes historical events, conspiracies, and moral issues,
among others. Another distinct feature of Kabuki is that the characters only
perform a part of an entire story. Thus, members of the audience are encouraged
to read about the story first before watching a show.
• There were three early variants of Kabuki, namely onna kabuki, wakashū
kabuki, andyaro kabuki.
◦ onna kabuki (“women’s kabuki”)—It was described as an erotic
performance of the actors,associating it with prostitution. It was banned in
1629.
◦ wakashū kabuki (“young men’s kabuki”)—Young boys replaced women.
In 1652, it was banned due to widespread homosexuality.
◦ yaro kabuki (“male’s kabuki”)—It had an all-male cast. This variant
endures up to thepresent day.
• Actors who play male roles are called tachiyaku, whereas others who play
female roles arecalled onnagata.
• There are three main types of Kabuki theater:
◦ jidaimono (“historical play”)—It is a play that chiefly depicts samurai
battles. It is usuallyset in a period before the Tokugawa shogunate.
◦ sewamono (“domestic play”)—It portrays the life of the common people
of the Edo period.
◦ shosagato (“dance play”)—It refers to the dance-drama performed by the
onnagata.
• Some of the notable Kabuki plays include Chūshingura (The Treasury of Loyal
Retainers; adapted into film as 47 Ronin); Okamoto Kidō’s Banshō Sarayashiki;
and Takeda Izumo I, Miyoshi Shôraku, Takeda Izumo II, and Namiki Sôsuke’s
Sugawara denju tenarai kagami(Sugawara and the Secrets of Calligraphy).
• Some of the famous Kabuki playwrights include Kawatake Mokuami and
Chikamatsu Monzaemon.
• In 2005, UNESCO named the Kabuki Theater as one of the Masterpieces of the
Oral and Intangible Heritage of Humanity.
Japanese Modern Literature (from 1898 to present)

• Some of the notable writers of modern Japanese literature include Mori Ōgai,
Natsume Sōseki, Ryūnosuke Akutagawa, Yasunari Kawabata, Jun’ichirō
Tanizaki, Haruki Murakami, and Ryū Murakami.
• Former Harvard professor Jay Rubin translated Akutagawa’s famous work
Rashomon andOther Stories (1915), which was published by Penguin in 2006.
The 1950 film adaptation ofAkira Kurosawa, Rashomon, was based on
“Rashomon” and “Yabu no naka” (“In a Grove,”1921). The Akutagawa Prize, a
tribute to Akutagawa, was established in 1935, which was asprestigious as the
Naoki Prize.
• In 1968, Yasunari Kawabata won a Nobel Peace Prize in Literature. His famous
novel, Yukiguni (Snow Country, 1948), was a striking collaboration of a haiku and
a novel. Below is an excerpt of Snow Country. A house was burning while
onlookers gathered to watch. What do you think is the significance of the “Milky
Way” in this passage? Does it suggest the season of the year? What can you
infer with the Milky Way moving in the opposite direction of the smoke?
The sparks spread off into the Milky Way, and Shimamura was pulled up with
them. As the smoke drifted away, the Milky Way seemed to dip and flow in the
opposite direction. Occasionally a pump missed the roof, and the end of its line of
water wavered and turned to a faint white mist, as though lighted by the Milky
Way.
Post-Activity 1:
Directions: Draw your favorite Japanese anime or characters, and then write a
brief description.
Post- Activity 2:
Answer the following:
1. He was considered the greatest master of the haiku.
2. Enumerate the characters in Noh Theater.
3. What are the six types of Noh plays?
4. Define Kabuki.
5. Enumerate the three types of Kabuki Theatre.
References:
“Kabuki,” Yokohama Noh Theater, accessed April 20, 2016,

http://ynt.yafjp.org/en/
performing-arts/#kabuki.
“Kabuki: A vibrant and exciting traditional theater,” Japan Fact Sheet, accessed
April 20, 2016, http://web-japan.org/factsheet/en/pdf/e30_kabuki.pdf.
“Kabuki Theater,” Japan Zone, accessed April 20, 2016, http://www.japan-

zone.com/culture/kabuki .shtml.
“Kabuki, Theatre as Spectacle,” Asian Traditional Theatre & Dance, accessed
April 20, 2016, http://www.xip.fi/atd/japan/kabuki-theatre-as-spectacle.html.
Keene, Donald, “Japanese literature,” Encyclopaedia Britannica Online, last

modified December 16, 2016, accessed April 13, 2016,
http://www.britannica.com/art/Japanese-literature.
“Noh Theater,” Japan-Guide.com, accessed April 20, 2016, http://www.japan-

guide.com/e/e2090
.html.
LESSON IV
AFRICAN LITERATURE
Pre-Activity

Answer the following riddles:
1. You can see me in water, but I never get wet. What am I?

2. What is it that no man ever yet did see, which never was, but always is to
be?
3. What belongs to you but others use it more than you do?
4. What five-letter word becomes shorter when you add two letters to it?
5. A man is trapped in a room. The room has only two possible exits: two
doors. Through the first door there is a room constructed from magnifying
glass. The blazing hot sun instantly fries anything or anyone that enters.
Through the second door there is a fire-breathing dragon. How does the
man escape?
Lesson Proper
• Africa’s traditional literature is oral in nature. Its oral literature includes proverbs,
songs, hymns, myths, dramas, and riddles, among others.
• Oral literature is dependent on storytellers. According to Harold Scheub,
“storytelling is a sensory union of image and idea, a recreating of the past in
terms of the present” (“The nature of storytelling,” Encyclopaedia Britannica). He
added that the storyteller uses both realistic and fantasy images to describe the
present life and to embody the culture.
Riddles
• A riddle refers to a confusing question posed as a problem that has to be
guessed or answered. Besides its entertainment and social functions, riddles are
somehow educational in nature, as they train children to think quickly and
logically.
• Like a proverb, a riddle is brief and concise. It also serves as a means to say
something without explicitly stating it.
• Some riddles are composed of a word or a phrase that implies that the answer
is based on the sound it produces. See examples below:
◦ Sengsekede (Answer: “You cannot put a needle on a rock.”)—The term
sengsekederefers to and/or suggests the sound a needle makes when it
falls into the ground.
◦ Aa (Answer: “The old man drank a little milk in the dry season.”)—The
sound that a manproduces while quenching his thirst with milk.
• Sometimes, a riddle is composed of only a word. See examples below:
◦ Invincible (Answer: the wind)
◦ Innumerable (Answer: grass)
• There are riddles that do not really “ask” but need a response. Refer to the
example below:
◦ Over there smoke goes up, over there smoke goes up. (Response: “Over
there they mourn over a chief, over there they mourn over a poor man.”)

• A riddle employs various literary devices such as imagery, repetition, analogy,
onomatopoeia, allusion, and metaphor, among others.
• Other examples of riddles:
◦ Always cooked before it’s scraped; always cooked before it’s eaten.
(Answer: a fish)
◦ The little chap who plays the typewriter (Answer: tongue)
◦ Little things that defeat us (Answer: mosquitoes)
Lyric poetry
• Lyric poetry is the most common form of poetry in sub-Saharan Africa. Lyrical
poems are characterized by their song-like qualities such as rhythm and tone.
• The reciting or singing of lyrical poems is performed during weddings, funerals,
andpuberty—mostly “rites of passage” occasions.
• The subjects of lyrical poems vary. These may be animals, people, current
issues, etc.
• Most songs in Africa are antiphonal in form. Antiphonal singing means that
there are two singers, or choirs, singing alternately. It is performed by a cantor
(“soloist”) and a chorus. The cantor plays an important role during the
performance, as he or she decides when to start and end a song.
• Most song techniques employ a “call and response” pattern.
(AFRICA POEM BY DAVID DOPE)
Prose
• Prose narratives center on people, animals, histories, etc. For animal
narratives, the plot usually focuses on large animals tricked by smaller ones.
Another plot focuses on an attacker (e.g., snake or crocodile) that is trying to
deceive its rescuer or savior (e.g., child, white man, rat) but is instead outsmarted
by a third character (e.g., hare, jackal, spider). The third character foils the
attacker into a trap.
• Meanwhile, there are also narratives about a hero, portrayed by a young boy or
an animal, who acquires precious things through trade, exchange, and refusal to
fight unless his wish was granted (Finnegan, p. 329). In the end, the hero
achieves his utmost desires. In other versions of this story, there are odd twists,
such as the hero losing his precious things and starting back at zero.
• Some stories, although they differ in characters, motifs/themes, and tone, have
similar plots. Such is the case with “The Vulture and the Hen” and “The Finch,
the Eagle, and the Hen.” Both stories explain why birds of prey (i.e., eagle,
vulture) snatch chicks from the mother hen. Long ago, the mother hen owed
these birds. They then took her chicks as payment. Read the excerpts below:
The Vulture and the Hen

(The excerpt below is from C. Cagnolo’s “Kikuyu tales,” lifted from Finnegan’s
Oral Literature in Africa.)

One day the hen thought of borrowing a razor from the vulture, to shave the little
ones. The shaving was already much overdue, but it couldn’t be helped, because
she had no razor, and was depending on the kindness of her neighbours. So the
hen went to see the vultureand said: ‘Dear vulture, I should like to borrow your
razor; mine was lost months ago. Mylittle ones are looking very ugly, and also
very untidy, with their long unkempt hairovergrown.’
The vulture listened to the hen with great concern and, after a short
silence, said: ‘Dearhen, I cannot refuse you this favour. To-morrow perhaps I
might need your help as well, and we must help each other. However, you must
remember one thing. You know what that razor means to me. I have no other
income except the rent of that razor; that is to say, that razor is my field, whence I
get my daily food. I do not intend to ask you any fee as I do with others; but
please be careful to return it to me, as soon as you have finished your shaving.’
‘Thank you, brother vulture, I quite understand what you say, and I am
very grateful toyou. I’ll bring it back very soon.’
The hen was very glad of the favour, and as soon as she arrived home,
madearrangements to be shaved by another woman. The following morning she
also shaved her two little ones, so that the whole family was now shining like the
moon. The work over, instead of immediately returning the razor to the owner,
she put it in a leather purse, which was hanging in a corner of the hut.
The days passed, and passed away like the water under the bridge, but
the hen neverthought again of returning the razor to the vulture. She forgot it
completely. The vulture grew impatient, and deeply resented in his heart the
unkindness, nay, the ingratitude of the hen.
Pressed by necessity, he decided to go personally to the hen and demand
his razor.
The Finch, the Eagle, and the Hen

(The excerpt below was lifted from Finnegan’s Oral Literature in Africa, which she
has alsorecorded.)
The finch, a small bird, once borrowed money from the eagle’s
grandfather. He borrowedthat money.
Now the eagle—(he died) leaving his children alone. But he left a
message with them:‘Your grandfather had money borrowed from him by the
father of the finch.’
Since he (i.e. his family) had lent the money, the (young) eagle spent a
long time lookingfor the finch. He looked and looked; but he could not find him.
One day he went and sat down where they pound the rice. He was sitting
there. When hesaw the hen standing there, eating the rice, he asked her:
‘Oh, hen.’
‘Yes?’
‘What are you doing here?’
‘I am getting my food’.
‘Do you know whereabouts the finch is? He’s the one I’m looking for. He
made use of myfather’s property. I want him to return it .... Do you think
I will be able to find the finch?’
‘Yes, you can find him.’
‘Well, how can I find him?’
‘When people get up to go and pound the rice, if you go there and you
hide you will find the finch there.’
The eagle got there. He went and hid. The finch alighted and began to
pick at the ground, searching for his food. The eagle swooped down.
‘Ah! you! What a long time I have spent looking for you. Now here you are
today. Todayyou will have to give me back the property your family took.’
‘What?’ asked the finch.
‘Eagle?’ ‘Yes?’
‘Who told you where I was?’
‘The hen.’
‘It was the hen that told you?’
‘Yes.’
‘Oh! dear!’ (said the finch) ‘We have both been having trouble then. I—ha!
I have beenlooking for the hen here but could not find her. And all the time you
have been looking for me and could not find me! Since the hen was the reason
you found me, that’s why I am going to give her to you now.’
Proverb
• A proverb is a popular saying that expresses obvious truths that are figurative in
nature. It sometimes serves as a reminder or a piece of advice on how people
should lead their lives.
• A proverb represents abstract ideas through concise and figurative words or
phrases. Finnegan remarked, “The literary relevance of these short sayings is
clear. Proverbs are a rich source of imagery and succinct expression on which
more elaborate forms can draw” (Finnegan, p. 421).
• There are instances in which a particular term, which is meant to describe a
proverb, encompasses other literary forms. For example, the term mwambi (from
Nyanja) not only refers to a proverb but also refers to a story or a riddle. Olugero
(from Ganda) may also mean a parable or a saying. The term bokolo (from
Mongo) covers all poetic expressions. Mboro(from Limba) also refers to a riddle
or a saying. Tindol (from Fulani) may also refer to a moral story.
• Proverbs are used in almost all occasions.
• Proverbs convey various meanings. They can come off as a piece of advice, a
warning, or an instruction (Finnegan, p. 406). For example, the proverb “We
watch the bird’s neck while he is talking” has various meanings. According to
Finnegan, this proverb could mean(1) doubting the accuracy of what one is
saying; (2) agreeing to what one will say; and (3) retorting to what one is saying.
• Additionally, in Jabo society, proverbs play an important role during legal
proceedings. The more proverbs a person can employ in his or her speech, the
more effective that person is. Proverbs are also used to fix an altercation or to
iron out a misunderstanding.
Modern African Literature

• Some of the famous modern African authors include Chinua Achebe (Nigerian),
Wole Soyinka (Nigerian), and Naguib Mahfouz (Egyptian).
• Mahfouz is a screenplay writer and a novelist. He was awarded with the Nobel
Prize in Literature in 1988. One of his famous works was the trilogy Al-
Thulāthiyyah (The CairoTrilogy): Bayn al-qaṣrayn (Palace Walk, 1956), Qaṣr al-
shawq (Palace of Desire, 1957), and Al-Sukkariyyah (Sugar Street, 1957). The
trilogy focused on the three generations of various families in Cairo, beginning
from the onset of World War I to the end of the military coup in1952, which
dethroned King Farouk.
• Achebe wrote the famous novel Things Fall Apart (1958). It was followed by No
Longer atEase (1960), a sequel to his critically acclaimed novel. He was a
recipient of the Man BookerInternational Prize (2007) and the Dorothy and Lillian
Gish Prize (2010).
• Soyinka was a prominent playwright and activist from Nigeria. He was a
recipient of the Nobel Prize in Literature in 1986. Some of his works include A
Dance of the Forests (1963), The Lion and the Jewel (1963), Jero’s
Metamorphosis (1973), and From Zia, with Love (1992).
Post-Activity 1
Read the two excerpts above: The Vulture and the Hen and The Finch, the
Eagle, and the Hen
 Based on the above excerpts, what are the similarities and differences of
the two stories? (5pts)
 What does each story say about the hen’s character?(5pts)
Post-Activity 2
Read the poem Africa by David Dope and analyze each line.
References
Andrzejewski, B.W, S. Pilaszewicz and W. Tyloch, eds., 1985. Literatures in

African Languages: Theoretical Issues and Sample Surveys. Cambridge:
Cambridge University Press.
 the different literary forms and texts from Asia and Africa.Make a crit

 Distinguish the literary uses of language from nonliterary use and understand their
use, as well as the formal features and conventions of literature.
 Identify the figures of speech and other literary techniqu


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Westbridge Institute of Technology Inc.

#1 Brgy. Banlic City of Cabuyao Laguna

21st Century literature from the

CLARIZA S. ACIDO, LPT

21st Century Literature from the Philippines and the World

21st Century Literature from the Philippines and the World

Module I- LITERARY HISTORY OF THE PHILIPPINES

Lesson 1 Various dimensions of Philippine literary history from pre-colonial to

Module II UNDERSTANDING DIFFERENT GENRES

Module III –REGIONS IN LUZON, VISAYAS, MINDANAO

Lesson 1 Literary Texts from Luzon

Module IV –LITERARY GENRES, TRADITIONS AND FORMS FROM DIFFERENT

Lesson 1 American Literature

21st Century Literature from the Philippines and the World

PRECOLONIAL PHILIPPINES: A HISTORICAL OVERVIEW

Directions: Complete the first two columns below.

LITERARY HISTORY OF THE PHILIPPINES

PRECOLONIAL PHILIPPINES: A HISTORICAL OVERVIEW

Ancient Tagalog Deities

Gods and Goddesses of Philippine Mythology

 Filipinos practiced worshipping gods and goddesses during the precolonial

Ancient Tagalog Deities

CRITERIA FOR JUDGING

I. Directions: Identify the following items.

______ 3. In this period, the characters in stories evolved.

Directions: Enumerate the six (6 ) Ancient Tagalog Deities and

Baritugo, Mercedita R., Reynaldo G. Caranguian, Angelita C.

Kahayon, Alicia H., Magdalena P. Limdico, Erlinda M. Santiago. 2010. Panitikang

PHILIPPINE FOLK NARRATIVES: MYTHS, EPICS, LEGENDS,

Philippine Folk Narratives: Myths, Epics, Legends, and Folktales

Narratives such as folktales and legends were created to explain natural

21st Century Literature from the Philippines and the World

The Creation (Tagalog)

21st Century Literature from the Philippines and the World

1. Hinilawod (Panay)—This is considered as the oldest and longest among the

With care we shall tell, accurately we shall relate

2. Ibalon (Bicol)—Somehow similar to Hinilawod, this epic is about three

4. Darangan (Muslim)—This epic is about the sentimental and romantic

21st Century Literature from the Philippines and the World

The Legend of Maria Makiling (Tagalog)

The soldiers brought Juan to the plaza. In front of hundreds of people,

Directions: Answer the following questions.

21st Century Literature from the Philippines and the World

Directions: Identify the following items.

____ 2. It is a long narrative poem that describes the adventures of a hero,

____ 4. Prose narratives usually told to amuse or entertain.

21st Century Literature from the Philippines and the World

Directions: Complete the graphic organizer below.

Philippine Folk Lyric and Speech: Songs, Proverbs, and Riddles

21st Century Literature from the Philippines and the World

Huwag magbilang ng sisiw

Matibay ang walis,

Hangga’t makitid ang kumot,

21st Century Literature from the Philippines and the World

Ako ay may kaibigan,

Rubrics for Scoring

1. Name five Philippine folksongs.

21st Century Literature from the Philippines and the World

PHILIPPINE LITERATURE UNDER THE SPANISH COLONIAL

Development of Poetry during the Spanish Colonization