MODULE 2 - Week 2 and 3: Subject Objectives

MODULE 2 – Week 2 and 3
Timeline of Philippine Literature (Graphic, Linguistic,

and Ethnic Dimensions of Philippine Literary History)
Subject Objectives
At the end of this lesson, the learners are expected to:

1. identify the geographic, linguistic and ethnic dimensions of Philippine
literary history from pre-colonial to the contemporary;
2. distinguish the distinct characteristics of each literary period; and
3. create a timetable showing how the literatures on each literary period
flourished.
Start-up Activity
What is the essence of literature?

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What are the two division of literature?

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Differentiate prose from poetry.

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Supplementary Ideas
The diversity and richness of Philippine literature evolved side by side with the
country's history. This can best be appreciated in the context of the country's
pre-colonial cultural traditions and the socio-political histories of its colonial
and contemporary traditions.
TIMELINE OF THE PHILIPPINE LITERATURE
I. PRE-COLONIAL ( –BC TO 1564)

A. Characteristics
1. Based on oral traditions
2. Crude on ideology and phraseology
3. Ancient literatures were written on the perishable materials like dried leaves,
bamboo cylinder, and bark of the trees.
4. Literatures were handed down to us through the word of mouth.
B. Literary Forms
1. Oral Literature
a. Riddles (bugtong)—battle of wits among participants. These are effective

ways to inculcate the ability of logical thinking of a child.
tigmo—Cebu
paktakon—Ilonggo
patotdon—Bicol
Heto, heto na si Lelong

Bubulong-bulong
(Here comes granfather

who is always murmuring)
Answer: bee/bubuyog
b. Proverbs (salawikain) —wise saying that contain a metaphor used to
teach as a food for thought.
A broom is sturdy because its strands are tightly bound.

Matibay ang walis, palibhasa'y magkabigkis.
People gain strength by standing together.
c. Tanaga— Filipino version of Japanese‘s Haiku; a mono-riming

heptasyllabic quatrain expressing insights and lessons on life is ―more
emotionally charged than the terse proverb and thus has affinities with
the folk lyric‖.
Tumatawag sa langit
Sana ay „wag ma galit
Tadhana‟y makita
Malimot pagdududa
d. chants/bulong – Used in witchcrafts and enchantments usually by the

old to impart experiences, or by the community in tribal ceremony.
Tabi-Tabi po nuno.
The Hudhud chanted by the Ifugaos - The hudhud is chanted among the
Ifugao only during four occasions: the harvesting and weeding of rice,
funeral wakes, and bone-washing (bogwa) rituals.
You may listen to it here: The Hudhud Chants of the Ifugao by UNESCO
(https://www.youtube.com/watch?v=qDImhwTKMOk)
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English for Academic and Professional Purposes

Year Revised: 2020 Page 4 of 28
2. Folk Songs—a form of fold lyric which expresses the hopes and
aspirations, the people‘s lifestyles as well as their loves. These are often
repetitive and sonorous, didactic and naïve.
a. Hele or oyayi—lullaby
b. Ambahan (Mangyan) —7-syllable per line oen that are about human
relationships and social entertainment.
c. Kalusan (Ivatan) —work songs that depict the livelihood of the people
d. Tagay (Cebuano and Waray) —drinking song
e. Kanogan (Cebuano)—song of lamentation for the dead
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3. Folk Tales
a. Myths—explain how the world was created, how certain animals
possess certain characteristics, why some places have waterfalls,
volcanoes, mountains, flora or fauna
BAKUNAWA: The Moon Eating Dragon of Philippine Mythology
b. Legends(alamat)—explain the origin of things
Alamat ng Pinya
c. Fables—used an animal characters and allegory
Si Pagong at si Matsing
Ang Langgam at ang Tipaklong
d. Fantastic Stories—deal with underworld characters such as ―tiyanak‖

―aswang‖ ―kapre‖ and others.
Urban Legends - The WHITE LADY at the Balete Drive
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4. Epics—these are narratives of sustained legth based on oral tradition
revolving around supernatural events or heroic deeds.
Biag ni Lam-Ang ng mga Ilokano
II. SPANISH COLONIZATION PERIOD (1565–1863)
The start of the deprivation of the indigenous Philippine literature,

Spanish colonial government finally got in the scene. They were able to
manipulate literature by monopolizing it under the religious orders.
Literature evolves mainly on the themes of Spanish/ European culture
and of course, the Roman Catholic religion.
A. Characteristics
1. It has two distinct classifications: religious and secular
2. It introduced Spanish as the medium of communication
B. Literary Forms
1. Religious Literature—religious lyrics written by Ladino poets or those
versed in both Spanish and Tagalog were included in early catechism
and were uses to teach Filipinos the Spanish language.
a. Pasyon—long narrative poem about the passion and death of Christ.

The most popular was “Ang Mahal na Passion ni Jesu Cristong Panginoon
Natin” by Gaspar Aguino de Belen.
b. Senakulo—dramatization of the pasyon, it shows the passion and
death of Christ
2. Secular (non-relisious) Literature

a. Awit—colorful tales of chivalry made for singing and chanting Ex.
Ibong Adarna
b. Korido—metrical tale written in octosyllabic quatrains
c. Prose Narratives—written to prescribe proper decorum
JOSE DELA CRUZ (1746-1829) – he was the foremost exponent of the

komedya during his time.

FRANCISO BALTAZAR (1788-1862) – he was popularly called Balagtas,
he is the acknowledged master of traditional Tagalog poetry.
C. Literary Styles and Themes

The topics covered by the literary works include religion, specifically
Christianity, and European traditions. Grammar books in Tagalog were
also published at that time period. Some were sung, like The Passion
while some were prayers that believers chant in church.
III. NATIONALISTIC/PROPAGANDA AND REVOLUTIONARY PERIOD

(1864–1896)
A. Characteristics
1. Planted seeds of nationalism in Filipinos
2. Language shifted from Spanish to Tagalog
3. Addressed the masses instead of the ―intelligentsia‖
B. Literary Forms
1. Propaganda Literature—Reformatory in objective
a. Political Essays— satires, editorials and news articles were written to
attack and expose the evils of Spanish rule.
i. Diariong Tagalog—founded by Marcelo H. Pilar
ii. La Solidaridad—editor-in-chief is Graciano Lopez Jaena
b. Political Novels. Noli Me Tangere and El Filibusterismo—Jose Rizal‘s
masterpieces that paved the way to the revolution.
2. Revolutionary Literature—more ‗propagandastic‘ than literary as it is

more violent in nature and demanded complete independence for the
country.
a. Political Essays—helped inflame the spirit of revolution

i. Kalayaan—newspaper of the society, edited by Emilio Jacinto
b. Poetry
i. True Decalogue—Apolinario Mabini

ii. Katapusang Hibik ng Pilipinas, Pag-ibig Sa Tinubuang Lupa —Andres
Bonifacio
iii. Liwanag at Dilim—Emilio Jacinto
PEN NAMES USED BY FILIPINO WRITERS BEFORE
⭐ANDRES BONIFACIO – May Pag-asa, Agapito

Bagumbayan
⭐ANTONIO LUNA – Taga-Ilog
⭐EMILIO AGUINALDO - Magdalo WHY DID THEY USE PEN

NAMES?
⭐EMILIO JACINTO – Dimas Ilaw, Pingkian
⭐GRACIANO LOPEz JAENA – Diego, Laura _____________________________

⭐JOSEMA. PANGANIBAN ¬– JoMaPa _____________________________
_____________________________
⭐JOSE RIZAL – Dimas alang, Laon laan
_____________________________
⭐JUAN LUNA – Buan _____________________________
⭐MARCELO DEL PILAR – Plaridel, Dolores _____________________________

____________________________
Manapat, Piping Dilat
⭐MARIANO PONCE – Tikbalang, Naning, (Satanas), Kalipulako
IV. AMERICAN COLONIAL PERIOD (1910–1945)

Even if Philippine literature was in English, the preservation of the
content for
Filipino experiences were achieved.
A. Period of Apprenticeship
1. Filipino Writers imitated English and American models
2. Poems written were amateurish and mushy, which phrasing and
diction is awkward and artificial.
a. Short Stories
i. Dead Stars—Paz Marquez Benitez
ii. The Small Key—Paz Latorena
iii. Footnote to Youth—Jose Garcia Villa

b. Novels
i. Child of Sorrow—first novel in English by Zoilo Galang
The Small Key

Paz Latorena
It was very warm. The sun, up above a sky that was blue and
tremendous and beckoning to birds ever on the wing, shone bright as if
determined to scorch everything under heaven, even the low, square nipa
house that stood in an unashamed relief against the gray-green haze of
grass and leaves.
It was lonely dwelling located far from its neighbors, which were huddled
close to one another as if for mutual comfort. It was flanked on both
sides by tall, slender bamboo tree which rustled plaintively under a
gentle wind.
On the porch a woman past her early twenties stood regarding the scene
before her with eyes made incurious by its familiarity. All around her the
land stretched endlessly, it seemed, and vanished into the distance.
There were dark, newly plowed furrows where in due time timorous
seedling would give rise to sturdy stalks and golden grain, to a rippling
yellow sea in the wind and sun during harvest time. Promise of plenty
and reward for hard toil! With a sigh of discontent, however, the woman
turned and entered a small dining room where a man sat over a belated a
midday meal.
Pedro Buhay, a prosperous farmer, looked up from his plate and smiled
at his wife as she stood framed by the doorway, the sunlight glinting on
her dark hair, which was drawn back, without relenting wave, from a
rather prominent and austere brow.
―Where are the shirts I ironed yesterday?‖ she asked as she approached
the table.

―In my trunk, I think,‖ he answered.
―Some of them need darning,‖ and observing the empty plate, she added,
―do you want some more rice?‖
―No,‖ hastily, ―I am in a burry to get back. We must finish plowing the

south field today because tomorrow is Sunday.‖
Pedro pushed the chair back and stood up. Soledad began to pile the
dirty dishes one on top of the other.
―Here is the key to my trunk.‖ From the pocket of his khaki coat he
pulled a string of non-descript red which held together a big shiny key
and another small, rather rusty looking one.
With deliberate care he untied the knot and, detaching the big key,
dropped the small one back into his pocket. She watched him fixedly as
he did this. The smile left her face and a strange look came into her eyes
as she took the big key from him without a word. Together they left the
dining room.
Out of the porch he put an arm around her shoulders and peered into
her shadowed face.
―You look pale and tired,‖ he remarked softly. ―What have you been doing
all morning?‖
―Nothing,‖ she said listlessly. ―But the heat gives me a headache.‖
―Then lie down and try to sleep while I am gone.‖ For a moment they
looked deep into each other‘s eyes.
―It is really warm,‖ he continued. ―I think I will take off my coat.‖
He removed the garment absent mindedly and handed it to her. The

stairs creaked under his weight as he went down.

―Choleng,‖ he turned his head as he opened the gate, ―I shall pass by Tia
Maria‘s house and tell her to come. I may not return before dark.‖
Soledad nodded. Her eyes followed her husband down the road, noting
the fine set of his head and shoulders, the case of his stride. A strange
ache rose in her throat.
She looked at the coat he had handed to her. It exuded a faint smell of
his favorite cigars, one of which he invariably smoked, after the day‘s
work, on his way home from the fields. Mechanically, she began to fold
the garment.
As she was doing so, s small object fell from the floor with a dull, metallic
sound. Soledad stooped down to pick it up. It was the small key! She
stared at it in her palm as if she had never seen it before. Her mouth was
tightly drawn and for a while she looked almost old.
She passed into the small bedroom and tossed the coat carelessly on the
back of a chair. She opened the window and the early afternoon
sunshine flooded in. On a mat spread on the bamboo floor were some
newly washed garments.
She began to fold them one by one in feverish haste, as if seeking in the
task of the moment in refuge from painful thoughts. But her eyes moved
restlessly around the room until they rested almost furtively on a small
trunk that was half concealed by a rolled mat in a dark corner.
It was a small old trunk, without anything on the outside that might
arouse one‘s curiosity. But it held the things she had come to hate with
unreasoning violence, the things that were causing her so much
unnecessary anguish and pain and threatened to destroy all that was
most beautiful between her and her husband!
Soledad came across a torn garment. She threaded a needle, but after a
few uneven stitches she pricked her finger and a crimson drop stained

the white garment. Then she saw she had been mending on the wrong
side.
―What is the matter with me?‖ she asked herself aloud as she pulled the
thread with nervous and impatient fingers.
What did it matter if her husband chose to keep the clothes of his first
wife?
―She is dead anyhow. She is dead,‖ she repeated to herself over and over
again.
The sound of her own voice calmed her. She tried to thread the needle
once more. But she could not, not for the tears had come unbidden and
completely blinded her.
―My God,‖ she cried with a sob, ―make me forget Indo‘s face as he put the
small key back into his pocket.‖
She brushed her tears with the sleeves of her camisa and abruptly stood
up. The heat was stifling, and the silence in the house was beginning to
be unendurable.
She looked out of the window. She wondered what was keeping Tia
Maria. Perhaps Pedro had forgotten to pass by her house in his hurry.
She could picture him out there in the south field gazing far and wide at
the newly plowed land with no thought in his mind but of work, work.
For to the people of the barrio whose patron saint, San Isidro Labrador,
smiled on them with benign eyes from his crude altar in the little chapel
up the hill, this season was a prolonged hour during which they were
blind and dead to everything but the demands of the land.
During the next half hour Soledad wandered in and out of the rooms in
effort to seek escape from her own thoughts and to fight down an
overpowering impulse. If Tia Maria would only come and talk to her to
divert her thoughts to other channels!

But the expression on her husband‘s face as he put the small key back
into his pocket kept torturing her like a nightmare, goading beyond
endurance. Then, with all resistance to the impulse gone, she was
kneeling before the small trunk. With the long drawn breath she inserted
the small key. There was an unpleasant metallic sound, for the key had
not been used for a long time and it was rusty.
That evening Pedro Buhay hurried home with the usual cigar dangling
from his mouth, pleased with himself and the tenants because the work
in the south field had been finished. Tia Maria met him at the gate and
told him that Soledad was in bed with a fever.
―I shall go to town and bring Doctor Santos,‖ he decided, his cool hand
on his wife‘s brow.
Soledad opened her eyes.
―Don‘t, Indo,‖ she begged with a vague terror in her eyes which he took
for anxiety for him because the town was pretty far and the road was
dark and deserted by that hour of the night. ―I shall be alright
tomorrow.‖
Pedro returned an hour later, very tired and very worried. The doctor was
not at home but his wife had promised to give him Pedro‘s message as
soon as he came in.
Tia Maria decide to remain for the night. But it was Pedro who stayed up
to watch the sick woman. He was puzzled and worried – more than he
cared to admit it. It was true that Soledad did not looked very well early
that afternoon. Yet, he thought, the fever was rather sudden. He was
afraid it might be a symptom of a serious illness.
Soledad was restless the whole night. She tossed from one side to
another, but toward morning she fell into some sort of troubled sleep.
Pedro then lay down to snatch a few winks.

He woke up to find the soft morning sunshine streaming through the
half-open window. He got up without making any noise. His wife was still
asleep and now breathing evenly. A sudden rush of tenderness came over
him at the sight of her – so slight, so frail.
Tia Maria was nowhere to be seen, but that did not bother him, for it was
Sunday and the work in the south field was finished. However, he missed
the pleasant aroma which came from the kitchen every time he had
awakened early in the morning.
The kitchen was neat but cheerless, and an immediate search for wood
brought no results. So shouldering an ax, Pedro descended the rickety
stairs that led to the backyard.
The morning was clear and the breeze soft and cool. Pedro took in a deep
breath of air. It was good – it smelt of trees, of the ricefields, of the land
he loved.
He found a pile of logs under the young mango tree near the house and
began to chop. He swung the ax with rapid clean sweeps, enjoying the
feel of the smooth wooden handle in his palms.
As he stopped for a while to mop his brow, his eyes caught the remnants
of a smudge that had been built in the backyard.
―Ah!‖ he muttered to himself. ―She swept the yard yesterday after I left
her. That, coupled with the heat, must have given her a headache and
then the fever.‖
The morning breeze stirred the ashes and a piece of white cloth fluttered
into view.
Pedro dropped his ax. It was a half-burn panuelo. Somebody had been
burning clothes. He examined the slightly ruined garment closely. A
puzzled expression came into his eyes. First it was doubt groping for
truth, then amazement, and finally agonized incredulity passed across
his face. He almost ran back to the house. In three strides he was

upstairs. He found his coat hanging from the back of a chair. Cautiously
he entered the room. The heavy breathing of his wife told him that she
was still asleep. As he stood by the small trunk, a vague distaste to open
it assailed to him. Surely he must be mistaken. She could not have done
it, she could not have been that… that foolish.
Resolutely he opened the trunk. It was empty.
It was nearly noon when the doctor arrived. He felt Soledad‘s pulse and
asked question which she answered in monosyllables. Pedro stood by
listening to the whole procedure with an inscrutable expression on his
face. He had the same expression when the doctor told him that nothing
was really wrong with his wife although she seemed to be worried about
something. The physician merely prescribed a day of complete rest.
Pedro lingered on the porch after the doctor left. He was trying not to be
angry with his wife. He hoped it would be just an interlude that could be
recalled without bitterness. She would explain sooner or later, she would
be repentant, perhaps she would even listen and eventually forgive her,
for she was young and he loved her. But somehow he knew that this
incident would always remain a shadow in their lives.
B. Period of Emergence
1. Highly influenced by Western literary trends like Romanticism and
Realism.
a. Short Stories—most prevalent literary form
i. Jose Garcia Villa —earned the international title ―Poet of the Century‖
Poetry
- Noteworthy names in this field, they wrote in free verse, in odes and
sonnets and in any other types. Poetry was original, spontaneous,
competently written and later, incorporated social consciousness.
Short Story
–1925 to 1941, poetry and short story flourished during these times.

Publications
– The Philippine Free Press provided the first incentives to Filipino
writers in English by offering prizes to Filipino writers in English by
offering prizes to worthwhile contribution. Other publication followed
suit.
Drama
– 1925 to 1941, drama during this period did not reach the heights
attained
by the novel or the short story.
Literary Styles and Themes

By this time, Filipino writers had acquired the mastery of English
writing. They now confidently and competently wrote on a lot of subjects
although the old-time favorites of love and youth persisted. They went
into all forms of writing like the novel and the drama.
V. JAPANESE OCCUPATION (1942–1960)
a. War Years (1942–1944)
Philippine Literature was interrupted in its development when the

Philippines was again conquered by another foreign country, Japan.
Philippine literature in English were put into halt. Except for the
TRIBUNE and the PHILIPPINE REVIEW, almost all newspapers in
English were stopped by the Japanese. The weekly Liwayway was placed
under strict surveillance until it was managed by a Japanese named
Ishiwara.
Haiku –A poem of free verse that the Japanese liked. It was made up of
17 syllables divided into three lines. The first line had 5 syllables, the
second had 7 syllables, and the third had 5. It is allegorical in meaning.
It is short and covers a wide scope in meaning.

Tanaga - It is like the Haiku since it is short but it had measure and
rhyme. Each line had 7 syllables and is also allegorical in meaning.
Filipino Drama - The drama experienced a lull during the Japanese

period because movie houses showing American films were closed. The
big movie houses were just made to show stage shows. Many of the plays
were reproductions of English plays to Tagalog.
1. Tagalog poets broke away from the Balagtas tradition and instead
wrote in simple language and free verse
2. Fiction prevailed over poetry
a. 25 Pinakambuting Maikling Kathang Pilipino (1943)—compilation of

the short story contest by the military government
i. Suyuan sa Tubigan—Macario Pineda
ii. Lupang Tinubuan—Narciso Reyes
iii. Uhaw ang Tigang na Lupa—Liwayway Arceo
b. Period of Maturity and Originality (1945–1960)

1. Bountiful harvest in poetry, fiction, drama and essay
2. Filipino writers mastered English and familiarized themselves with
diverse techniques.
3. Literary ―giants‖ appeared
- Palanca Awards for Literature

i. Jose Garcia Villa v. Gregorio Brillantes
ii. Nick Joaquin vi. Gilda Cordero Fernando
iii. NVM Gonzales vii. Bienvenido Santos
- National Artist Awards

i. Jose Garcia Villa ii. Nick Joaquin

The Martyr
Nick Joaquin
Being in love means never having to say you‘re sorry

After all, at some point in your life
That love was the most important thing to you,
That love might be the one that you hoped would last forever,
That love made you believe that destiny does exist,
And that love made you question,
Why you were afraid to fall in love in the first place.
At that time in your life,

Everything just seemed so perfect,
Everything seemed so beautiful,
Everything seemed to glow for you,
And you were my everything.
I wouldn't even think twice about sacrificing my own happiness for

yours,
I was even willing to bare up this walled but crumpled heart of mine,
Just so I could be with you.
All I ever did was care for you.
All I ever did was to make you happy.
And all I ever did was love you.
Being in love means never having to say you‘re sorry

But I needed to ask forgiveness from the one who was hurt the most…
Myself.

VI. CONTEMPORARY/MODERN PERIOD (1960–PRESENT)
A. Characteristics
1. Martial Law repressed and curtailed human rights, including freedom
of the press
2. Writers symbolisms and allegories to drive home their message, at the
face of censorship
3. Theater was used as a vehicle for protest, such as the PETA (Phil.
Educational Theater Association) and UP Theater.
4. From the eighties onward, writers continue to show dynamism and
innovation
Onomatopoeia – the use of words that imitate the sounds associated with
the objects or actions they refer to.
Messages in Poetry – the idea about life that a poet writes about is called
the theme or message of the poem.
Free Verse – a poem that has no regular rhyme or rhythm. Cause and
Effect Relationship
Adjectives – is a word that describes, limits, or points out a noun.
Period of Activism
The irreverence for the poor reached its peak during this period of the
mass revolution. It was also during this period that Bomba films that
discredit our ways as Filipinos started to come out. Many young people
became activists to ask for changes in the government.

Bomba films during Period of Activism
In the expression of this desire for change, keen were the writings of
some youth who were fired with nationalism in order to emphasize the
importance of their petitions. Many young activists were imprisoned in
military camps together with rebel writers. As early as this period of
history we can say that many of those writers who were imprisoned were
true nationalists and heroes of their time.
The literature of the activists reached a point where they stated boldly
what should be done to effect these changes. Some of those who rallied
to this revolutionary form of literature were Rolando Tinio, Rogelio
Mangahas, Efren Abueg, Rio Alma, and Clemente Bautista.
Period of the New Society

The period of the New Society started on September 21, 1972. The Carlos
Palanca Awards continued to give annual awards.
Almost all themes in most writings dealt with the development or

progress of the country –like the Green Revolution, family planning,
proper nutrition, environment, drug addiction and pollution. The New
Society tried to stop pornography or those writings giving bad influences
on the morals of the people. All school newspapers were temporarily
stopped and so with school organizations.
The military government established a new office called the Ministry of

Public Affairs that supervised the newspapers, books and other
publications. The weekly publications like KISLAP, and LIWAYWAY

helped a lot in the development of literature. These became outlets for
our writers to publish many of their works.
Sample of Liwayway and Kislap publication.
Period of Third Republic

A historian called this the Third Republic. The First Republic he claimed
was during the Philippine Republic of Emilio Aguinaldo when we first got
our independence form the Spaniards on June 12, 1898. The Second
was when the Americans granted us our independence on July 4, 1946.
This period, January 2, 1981, was the Third Republic when we were
freed from Military Rule.
During this period, it cannot be denied that many people seethed with
rebellion and protest because of the continued oppression and
suppression. We can say that Philippine literature, in spite of the many
restrictions, still surreptitiously retained its luster.
Many Filipino songs dealt with themes that were really true-to-life like
those of grief, poverty, aspirations for freedom, love of God, of country

and of fellowmen. Freddie Aguilar revived the song BAYAN KO which was
written by Jose Corazon de Jesus and C. de Guzman during the
American period.
BAYAN KO
Ang bayan kong Pilipinas

Lupain ng ginto't bulaklak
Pag-ibig na sa kanyang palad
Nag-alay ng ganda't dilag
At sa kanyang yumi at ganda

Dayuhan ay nahalina
Bayan ko, binihag ka
Nasadlak sa dusa
Ibon mang may layang lumipad

Kulungin mo at umiiyak
Bayan pa kayang sakdal-dilag
Ang 'di magnasang makaalpas
Pilipinas kong minumutya

Pugad ng luha at dalita
Aking adhika
Makita kang sakdal laya
The yearly Festival of Filipino Films continued to be held during this

period. The people‘s love for sex films also was unabated. Many
producers took advantage of this at the expense of public morality.
Rebirth of Freedom

History took another twist. Once more, the Filipino people regained their
independence which they lost twenty years ago. In the span of four days
form February 21-25, 1986, the so-called People Power (Lakas ng Bayan)
prevailed. Together, the people barricaded the streets petitioning the
government for changes and reforms.
Newspapers and other Publications

Newspapers which were once branded crony newspapers became instant
opposition papers overnight. This was true of BULLETIN TODAY which
became the opposition paper.
Books
The Philippine revolution of 1986 and the fire of its spirit that will carry
the Filipinos through another epoch in Philippine history is still being
documented just as they have been in the countless millions who
participated in body and spirit in its realization.

Self-Reflection
Encircle
your
answer

FORM
Read each statement and check ( ) the box that reflects your work
today.
Name: Date:
Section:
Strongly Strongly
Agree Disagree
Agree Disagree
1. I found this work interesting.

2. I make a strong effort.
3. I am proud of the results.
4. I understood all the
instructions.
5. I followed all the steps.
6. I learned something new.
7. I feel ready for the next
assignment.
www.ldatschool.ca/executive-function/self-assessment/
Self-Assessment
Create a timetable showing how the literatures on each literary period

flourished. State also the distinguished characteristic/s of each period.
The first one is done for you. (50pts.)
Period Literary Forms
Pre-Colonial Period Oral Literature

-riddles
The first period of the Philippine literary -chants
history -proverbs
is the longest. Long time before the -tanaga
Spaniards
and other foreigners landed on Philippine Folktales
shores, our forefathers already had their own Folksongs

literature stamped in the history of our race Epics
Spanish Period
Nationalistic Period
American Period
Japanese Period

Contemporary Period
REFERENCES
Ang, J.G. (2016) Literatura: 21st Century Philippine and World Literature. Mindshapers
Co. Inc, Intramuros Manila
Uychoco, M. A. (2016). 21ST CENTURY LITERATURE FROM THE PHILIPPINES AND

THE WORLD Quezon City, Manila, Philippines: Rex Bookstore.
https://www.coursehero.com/file/23983484/Philippine-Literary-Periodsdoc/

https://anelepapers.wordpress.com/2017/01/04/representative-compositions-
through-the-years/
https://www.slideshare.net/josephestroga/philippine-literature-the-contemporary-
period
https://infogram.com/different-periods-of-philippine-literature-1g0q3plyvx5n21g


MODULE 2 - Week 2 and 3: Subject Objectives

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MODULE 2 - Week 2 and 3: Subject Objectives

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MODULE 2 – Week 2 and 3

Timeline of Philippine Literature (Graphic, Linguistic,

At the end of this lesson, the learners are expected to:

What is the essence of literature?

What are the two division of literature?

Differentiate prose from poetry.

TIMELINE OF THE PHILIPPINE LITERATURE

I. PRE-COLONIAL ( –BC TO 1564)

a. Riddles (bugtong)—battle of wits among participants. These are effective

Heto, heto na si Lelong

(Here comes granfather

A broom is sturdy because its strands are tightly bound.

c. Tanaga— Filipino version of Japanese‘s Haiku; a mono-riming

d. chants/bulong – Used in witchcrafts and enchantments usually by the

English for Academic and Professional Purposes

BAKUNAWA: The Moon Eating Dragon of Philippine Mythology

b. Legends(alamat)—explain the origin of things

c. Fables—used an animal characters and allegory

d. Fantastic Stories—deal with underworld characters such as ―tiyanak‖

Urban Legends - The WHITE LADY at the Balete Drive

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Biag ni Lam-Ang ng mga Ilokano

II. SPANISH COLONIZATION PERIOD (1565–1863)

The start of the deprivation of the indigenous Philippine literature,

a. Pasyon—long narrative poem about the passion and death of Christ.

2. Secular (non-relisious) Literature

JOSE DELA CRUZ (1746-1829) – he was the foremost exponent of the

English for Academic and Professional Purposes

C. Literary Styles and Themes

III. NATIONALISTIC/PROPAGANDA AND REVOLUTIONARY PERIOD

2. Revolutionary Literature—more ‗propagandastic‘ than literary as it is

a. Political Essays—helped inflame the spirit of revolution

English for Academic and Professional Purposes

PEN NAMES USED BY FILIPINO WRITERS BEFORE

⭐ANDRES BONIFACIO – May Pag-asa, Agapito

⭐EMILIO AGUINALDO - Magdalo WHY DID THEY USE PEN

⭐GRACIANO LOPEz JAENA – Diego, Laura _____________________________

⭐MARCELO DEL PILAR – Plaridel, Dolores _____________________________

IV. AMERICAN COLONIAL PERIOD (1910–1945)

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The Small Key

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―No,‖ hastily, ―I am in a burry to get back. We must finish plowing the

―Nothing,‖ she said listlessly. ―But the heat gives me a headache.‖

―It is really warm,‖ he continued. ―I think I will take off my coat.‖

He removed the garment absent mindedly and handed it to her. The

English for Academic and Professional Purposes

English for Academic and Professional Purposes

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Soledad opened her eyes.

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Resolutely he opened the trunk. It was empty.

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Literary Styles and Themes

V. JAPANESE OCCUPATION (1942–1960)

a. War Years (1942–1944)

Philippine Literature was interrupted in its development when the

English for Academic and Professional Purposes

Filipino Drama - The drama experienced a lull during the Japanese

2. Fiction prevailed over poetry

a. 25 Pinakambuting Maikling Kathang Pilipino (1943)—compilation of