Philippine Literature in English Module

Episcopal Diocese of Southern Philippine
BRENT HOSPITAL AND COLLEGES INCORPORATED

R.T Lim Boulevard, Zamboanga City
GENERAL EDUCATION DEPARTMENT
PHILIPPINE LITERATURE IN ENGLISH

MODULE
Furaida A. Tiking
English Instructor
BHCI/General Education/ Furaida A. Tiking

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To the Students
This Philippine Literature in English Module has been prepared primarily to suit the
distance learning brought by the so-called “new normal” as well as in compliance with the
CHED Memorandum Order 59, series of 1996. Its contents are based on various ｰ online and
offline sources and materials. In which are aligned with the core objectives of this course
subject as envisioned by the Commission on Higher Education (CHED).
This module has been undertaken with the noblest of intentions, and produced as best
as we could, there is no guarantee that it will instantly make the best academic, professional
and global communicator out of you. Needles to say, your becoming efficient and effective so
still depends on your innate sense of learning and practicing the essential knowledge, skills
and competencies found in this material.
Disclaimer and Liability

This module is not intended for unauthorized publication nor commercial use. It is
purely for educational purpose. And is it especially and solely made for the students of Brent
Hospital and Colleges Inc.,
Furthermore, the contents found in this module are not entirely mine. I give due credits
and acknowledgment to the mentioned authors and sources found in the citation and
references.
Any unauthorized reproduction and distribution of this module will be subject for legal
action and penalties.

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Prepared by: Prepared by: Approved by:
Furaida A. Tiking Timothy C. Gomez Jennifer C. Sampang, MN

Instructor GE Coordinator Dean, College of Nursing
Ma. Erma P. Dormido, MSMT

Dean, College of Medical Technology
Eric V. Galo, MD, FCPP

Dean, College of Respiratory Therapy
Jickson A. Jainal, MPH

Dean, College of Radiological Technology
Norma B. Pada, MN
Dean, College of Midwifery
Daniele B. Ramos, MSPT

Dean, College of Physical Therapy

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NETIQUETTE GUIDE FOR ONLINE COURSES
It is important to recognize that the online classroom is in fact a classroom, and certain
behaviors are expected when you communicate with both your peers and your instructors.
These guidelines for online behavior and interaction are known as netiquette.
SECURITY
Remember that you use will your own email address and password is the only thing
protecting you from pranks or more serious harm.
• Don't share your password with anyone .
• Change your password if you think someone else might know it.
GENERAL GUIDELINES
When communicating online, you should always:
• Treat your instructor and classmates with respect in email or any other communication.
• Always use your professors’ proper title: Sir, Ma'am. or Prof., or if in doubt use Mr. or Ms.
• Unless specifically invited, don’t refer to your instructor by first name.
• Use clear and concise language.
• Remember that all college level communication should have correct spelling and grammar
(this includes discussion boards).
• Avoid slang terms such as “wassup?” and texting abbreviations such as “u” instead of “you.”
• Use standard fonts such as Ariel, Calibri or Times new Roman and use a size 10 or 12 pt.
font
• Avoid using the caps lock feature AS IT CAN BE INTERPRETED AS YELLING.
• Limit and possibly avoid the use of emo cons like :).
• Be cautious when using humor or sarcasm as tone is some mes lost in an email or
discussion post and your message might be taken seriously
or sound offensive.
• Be careful with personal information (both yours and other’s).
• Do not send confidential information via e-mail.
EMAIL NETIQUETTE
When you send an email to your instructor, teaching assistant, or classmates, you should:
• Use a descriptive subject line.

• Be brief.
• Avoid attachments that your recipients can't open or access..
• Avoid HTML in favor of plain text.
• Sign your message with your name and return e-mail address.
• Think before you send the e-mail to more than one person. Does everyone really need to
see your message?
• Be sure you REALLY want everyone to receive your response when you click, “reply all.”

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• Be sure that the message author intended for the information to be passed along before you
click the “forward” bu on.
MESSAGE BOARD NETIQUETTE AND GUIDELINES

When posting on the Discussion Board in your online class, you should:
• Make posts that are on topic and within the scope of the course material.
• Take your posts seriously and review and edit your posts before sending.
• Be as brief as possible while s ll making a thorough comment.
• Always give proper credit when referencing or quoting another source.
• Be sure to read all messages in a thread before replying.
• Don’t repeat someone else’s post without adding something of your own to it.
• Avoid short, generic replies such as, “I agree.” You should include why you agree or add to
the previous point.
• Always be respectful of others’ opinions even when they differ from your own.
• When you disagree with someone, you should express your differing opinion in a respectful,
non-critical way.
• Do not make personal or insulting remarks.
• Be open-minded.

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COURSE DESCRIPTION
This is a three-hour per week course which surveys short stories, poetry, essay, drama
and other literary works in English by Filipino authors from the pre-historic to the present
periods.
COURSE CODE: English 4
COURSE TITLE: Philippine Literature in English
COURSE CREDIT: 3 units lecture ( 54 hours/ semester)
PLACEMENT: 1stYear, 1st Semester

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COURSE OUTCOMES:
This course generally aims to expose the college students to the rich repertoire of
Philippine Literature written in English. Specifically, this course aims to develop among the
students the critical skills in reading and analyzing literary texts, to bolster their appreciative
values and sense of pride towards the Filipino culture and ideals, and to promote habitual and
discriminating taste in reading works of Filipino authors.
GENERAL OBJECTIVES:
By the end of the semester, the students can :
1. Characterized the various types of Philippine literature in relation to the particular historical
conditions that had produced them;
2. Analyzed sample representative works by Filipinos from various regions in terms of their human,
cultural, and social significance;
3. Presented original literary compositions in traditional West Visayan genres (composo, paktakon,
hurobaton, binalaybay, etc.);
4. Researched on local/West Visayan folklore for presentation in a class forum;
5. Demonstrated the values of critical thinking, pursuit of wisdom, social consciousness/concern for the
common good, and creativity through projects and class activities.

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LEARNING CONTENT
INTRODUCTION
• Course overview
• Netiquette/ Online behavior
MODULE I. Introduction to the Study of Literature
Nature and Essence of Literature

Divisions and Forms of Literature
Elements of Each Form
MODULE II. The Literary Forms in Philippine Literature
Pre-Colonial Times
Characteristics of Pre-colonial Literature
Types of Pre-colonial Literature
Literature under Spanish Rule

Characteristics of Spanish Colonial Literature
Literary Types of Spanish Colonial Literature
Literature under American Colonial Rule

Literary Traditions of American Colonial Rule
Literary Types of American Colonial Rule
The Contemporary Period

Characteristics of Contemporary Literature
Literary Types of Contemporary Literature
MODULE III. Literary works

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A. REQUIREMENTS AND ASSESSMENT
• Activities per Module

• Book Report
• Group Report thru video presentation/recording
• Quiz, Assignment thru E-mail/Online App
B. GRADING SYSTEM
• Recitation
• Quiz,
• Assignment
• Course Output/Activity
Individual
Group
Total 50%
Major Exams (Mid/Fin) 50%
100%
REFERENCES:
1. Dimalanta and Mata, Philippine Contemporary Literature in English: Tradition and Change
(from
the 20’s to the Present). UST Publishing House, 2004.
2. Don Carlos Palanca Memorial Awards for Literature An Anthology of Winning Works, The
1980s Poetry. Carlos Palanca Foundation, Inc. 2000.
3. Kahayon and Zulueta, Philippine Literature Through the Years. National Book Store.
4. Dones, Philippine Literature A Student Guide. Mindshapers co., Inc. 2009.
5. Lumbera and Lumbera, Philippine Literature A History and Anthology, English Edition. Anvil.
2005.
6. http://en.wikipedia.org/wiki/Palanca_Awards
7. http://sushidog.cocm/bpss/authors.htm
8. Other related sources

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MODULE I
Introduction to the Study of Literature
Nature and Essence of Literature
Literature
The word literature is derived from the Latin term litera which means letter.
It has been defines differently by various writers:
• Literature any printed matter written in a book, a magazine or a pamphlet.

• Literature is faithful reproduction of man’s manifold experiences blended into one’s
harmonious expression.
• Literature is the story of mans because it deals with ideas, thoughts and emotions of
man.
• Literature is man’s love, griefs, thoughts, dreams and inspirations coached in beautiful
language.
• Literature is the understanding of history of a nation’s spirit.
• Literature expresses the feelings of people to society, to the government, to his
surroundings, to his fellowmen and to his Divine Creator. -Brother Azurin
• Literature is anything that is printed, as long as it is related to the ideas and feelings of
people, whether it is true, or just a product of one’s imagination. -Webster
• Literature is a piece of written work which is undying. It expresses the feelings and
emotions of people in response to his everyday efforts to live, to be happy in his
environment and, after struggles, to reach his Creator. -Atienza, Ramos, Salazar and
Nazal, Panitikan Pilipino
Importance of studying Philippine Literature
We can enumerate many reasons for studying Literature
Here are but a few:
• We study literature so that we can better appreciate our literary heritage.

• Like other races of the world, to understand that we have a great and noble tradition
which can serve as the means to assimilate other cultures.
• To realize our literary limitations conditioned by certain historical factors and we can
tale steps to overcome them.
• As Filipinos, we have to manifest our deep concern for our own literature and this we
can do by studying the literature of our country.

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History and Literature
Literature and history are closely interrelated. In discovering the history of a race, the
feelings, aspirations, customs and traditions of a people are sure to be included . . . and these
feelings, aspirations, customs and traditions that are written is literature. History can also be
written and this too, is literature. Events that can be written down are part of true literature.
Literature, therefore, is part of history. Literature and history, however, also have differences.
Literature may be figments of the imagination or events devoid of truth that have been written
down, while history is made up of events that really happened.
Literary Compositions that Have Influenced the World. Among them are:
1. The Bible or the Sacred Writings
2. Qur’an
3. The Iliad and the Odyssey
4. The Mahab-harata
5. Canterbury Tales
6. Uncle Tom’s Cabin
7. The Divine Comedy
8. El Cid Compeador
9. The Song of Roland
10. The Book of the Dead
11. The Book of the Days
12. One Thousand and One Nights or The Arabian Nights
Divisions and Forms of Literature
Types of Literature
1. Prose- consists of those written the common flow of conversation in sentences and
paragraphs.
2. Poetry- expressions in verse, with measure and rhyme, line and stanza and has a
more melodious tone.
I. Prose
Types of Prose
a. Novel- a long narrative divides into chapters.
-The events can be taken from true-to-life stories… and spans a long period of time.
-There are many characteristics involved.
b. Short story - a narrative involving one or more characters, one plot and one single
impression.
c. Plays- This is presented on a stage, is divided into acts and each acts has many
scene.
d. Legends- These are fictitious narratives, usually about origins.

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e. Fables- These are also fictitious and they deal with animals and inanimate things who
speak and act like people and their purpose is to enlighten the minds of children to
events that can mold their ways and attitudes.
f. Anecdotes- These are merely products of the writers imagination and the main aim is
to bring out lessons to the reader.
g. Essay- This expresses the viewpoint or opinion of the writer about a particular problem
or event.
h. Biography- This deals with the life of a person which may be about himself, his
autobiography or that of others.
i. News- This is a report of everyday events in society, government, science and
industry, and accidents, happening nationally or not.
j. Oration- This is a formal treatment of a subject and is intended to be spoken in public.
-It appeals to the intellect, to the will or to the emotions of the audience.
II. Poetry
Types of Poetry
A. Narrative Poetry- this form describes important events in life either real or imaginary.
a. Epic – This is an extend narrative about heroic exploit often under supernatural
control. It may deal with heroes and god.
Two kinds of epic poetry are the popular or ancient, and the literary or modern.
b. Metrical Tale – This is a narrative which written in verse and can be classified
either as a ballad or a metrical romance.
c. Ballads – This is considered the shortest and simplest.
B. Lyric Poetry- this form is meant to be sung to the accompaniment of lyre, but now, this
applies to any type of poetry that expresses emotions and feelings of the poet. They
are usually short, simple and easy to understand.
a. Folksongs (Awiting bayan)- These are short poems intended to be sung. The
common theme is love, despair, grief, doubt, joy, hope or sorrow.
b. Sonnets- This is a lyric poem of 14 lines dealing with an emotion, a feeling, or an
idea. There are two types: The Italian and the Shakespearean.
c. Elegy- This is a lyric poem which expresses feelings of grief and melancholy, and
whose theme is death.
d. Ode- This is a poem of a noble feeling, expressed with dignity, with no
definitenumber of syllables or definite number of lines in a stanza.
e. Psalms- This is a song praising God or the Virgin Mary and containing a philosophy
of life.
f. Awit- These have measures of twelve syllables (dodecasyllabic) and slowly sung to
the accompaniment of guitar or banduria.
g. Corridos- These have measures of eight syllables (occtosyllabic) and recited to a
marital beat.

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C. Dramatic Poetry
a. Comedy- The word comedy comes from the Greek term ”Komos” meaning festivity
or revelry. This form usually is light and written with the purpose of amusing, and
usually has a happy ending.
b. Melodrama- This is usually used in musical plays with the opera.
c. Tragedy- This involves the hero struggling mightily against dynamic forces.
d. Farce- This is an exaggerated comedy.
e. Social Poems- This form is either purely comic or tragic and it pictures the life of
today.
Elements of Each Form
Elements of Prose Elements of Poetry

• Plot • Mood
• Conflict • Theme
• Character • Rhythm
• Theme • Meter
• Setting • Line
• POV • Stanza
• Style • Rhyme

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💬 Activity no. 2
Provide the answer of the following questions:
1. Deals with ideas, thoughts, and emotions of man. It is said to be the story of man.
2. Literature as a faithful reproduction of man’s manifold _______ blended into one

harmonious expression.
3-5. Three reasons why do we need to study Philippine Literature.
6. Written by Harriet Beecher Stowe of the US. This depicted the sad fate of slaves; this
became the basis of democracy later on.
7. This was written by Confucius of China. This became the basis of Roman Calendar.
8. This deals with the life of a person which may be about himself, his autobiography or
that of others.
9.These have been the source of myths and legends of Greece. They were written by
Homer.
10.This is a lyric poem of 14 lines dealing with an emotions, a feeling, or idea.

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MODULE II
The Literary Forms in Philippine Literature
“For great works of art are not neutral relay stations in the circulation of cultural materials.
Something happens to objects, beliefs, and practices when they are represented, reimagined,
and performed in literary texts, something often unpredictable and disturbing. That
“something” is the sign both of the power of art and of the embeddedness of culture in the
contingencies of history” (Stephen Greenblatt)
● Literature and history are more often seen from an angle of contrast than from a
perspective of complementation--history as a factual account of a people’s thoughts,
feelings, and aspirations, and literature as a creative representation of their history. A close
scrutiny of existing literary texts, however, reveals the marked interrelatedness between
literature and culture in at least two ways. For one, literary artists draw their themes from the
ocean of cultural experiences in their country or region. In fact, he writes about his personal
interactions with the vast culture in which he lives. Thus, May Bagyo Ma’t May Rilim (Despite
Storms and Darkness) by an unknown author published in 1605 reveals the writer’s
experiences with Christian doctrines against a backdrop of indigenous culture. Santong
Paspasan (literally Saintly Rush, but figuratively to carry out an objective, especially a
wrongdoing, rashly), a 1970-1971 poem of Jose Lacaba describing the rape of a beautiful
woman by the scion of a public official, vividly records what the author considers to be the
most debasing ills of later 20th-century Philippine society. Also, a reader’s prior exposure to a
certain culture, whether direct or vicarious, can heighten his understanding of a written text, at
the same time that immersion in a literary text can lead to an increased understanding of the
culture of the group which created it. And since culture is recorded in history, the link between
literature and history becomes obvious. Greenblatt has this position unequivocally stated in
the opening line above.
● Two conclusions apposite to the forms of literary texts can be drawn from the preceding
discussion. The subjects and themes people of one country opt to write about, and the
patterns and structures they pick to package their messages are dictated by culture. And
since culture changes with time, so also do the choices of people in expressing themselves
through the literary arts. Thus, genres come and go not as a case of fad and popularity but
as an expression of the collective thoughts, emotions and experiences of a cultural group. In
the Philippines, the development of literary forms is anchored on the major historical-cultural
developments outlined in the succeeding discussions.

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Philippine Literary Genres
Pre-Colonial Times.
Historical researches in the latter part of the 20 th century revealed that literary development in
the Philippines dates back to pre-Spanish colonization. Interestingly, the literary types and
features during this period are similar to early traditions in other cultures and regions.
Characteristics of Pre-colonial Literature (Lumbera & Lumbera 2 – 3)
o It was basically oral.

o It reflected community life, i.e., subject was ordinary day-to-day experiences
such as household chores and food gathering.
o It used common day-to-day language.
o It carried the conventions of common oral literary forms, i.e., “repetition,
stereotyping of characters, regular rhythmic and musical devices”
o “Ownership” of literary works was “communal.”
o Anybody was a potential author.
Types of Pre-colonial Literature (Lumbera & Lumbera 1-5; Godinez-Ortega 1-2):
o Riddles or bugtong. These are short rhymed puzzles, usually in a couplet,

intended as a form of entertainment in social gatherings such as during a
wake, or when a woman’s hand was formally asked for in marriage
(pamamanhikan). It is known as tigmo in Cebuano, paktakon in Ilongo,
patototdon in Bicol, (Godinez-Ortega 1), burburtia in Ilokano, and bonikew in
Pangasinan.
o Proverbs or salawikain. Similar to the bugtong, the proverb is a short

verse in a rhyme, usually a couplet, which was created to teach a lesson,
state a societal norm, or offer tidbits of wisdom.
o Monoriming heptasyllabic lines. (Monorime or Monorhyme refers to a

poem which has every two lines with an identical rhyme or all the lines with
the same end rhyme.) These single-rimed lines, which consist of seven
syllables per line, appeared in the Vocabulario de la lengua Tagala, a rare
Spanish source of “early oral lore obtained direct from the people” (Lumbera
& Lumbera 3).
 Tanaga. An example of a monoriming heptasyllabic quatrain, the

tanaga is an extended form of the proverb expressing its message
with intense emotion.

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 Folk song. The Filipino is a lover of the lyric and these verses during
pre-colonial times were enjoyed in melodious tones.
 Lullaby or hele. This is a mother’s song to calm a baby or put

him to sleep. The words are original and unique for each
singer. This is known as ili-ili in Ilongo and duwayya in Ilokano.
 Love songs or serenade. This is the harana in Tagalog,

panawagan or balitao in Ilongo, bayok among the Maranaos,
and tapat among the Ilokanos.
 Ambahan. This Mangyan song depicts human relationships

and social entertainment and serves as a tool for teaching the
young.
 Work songs. The rural folks being serious in their everyday

chores, they had songs for practically all important occasions
such as rice planting, harvesting, drying the rice on the stalk,
and pounding rice grains in the husk. Documented samples
include the kalusan of the Ivatans, soliranin which is a Tagalog
rowing song, and mambayu or Kalinga rice-pounding song.
 Tagay. This is a Cebuana and Waray drinking song.
 Kanogon (Cebuano), annako (Bontoc), and dung-aw (Ilokano).

These are the dirges and lamentations celebrating the life and
praising the deeds of the dead.
 Parang-sabil. This is a type of folk narrative among the

Tausug of Mindanao, focusing on the heroic feat of their
legendary heroes.
▪ Duplo. This was a verbal joust or a poetical game during wakes. It is

the forerunner of balagtasan. Interestingly, some authors classify it
as a folk song.
 Prose or Folk narrative. These came in four popular forms, namely:

 Origin myths
 Hero tales
 Fables
 Legends

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 Lumbera & Lumbera explain that through these prose narratives,
natural phenomena, events and beliefs were explained “to make the
environment more comprehensible and less fearsome, and make idle
hours less tedious by filling them with humor” (4). Further, they assert
that epics and folk tales are the “most significant pieces of oral
literature that may safely be presumed to have originated in
prehistoric times” (4). Significantly “varied, exotic, and magical”
(Godinez-Ortega 2), these “ethnoepics” represented the culture of the
ethnic group which composed them. They were intended to be sung
or chanted during community activities such as planting, harvesting
and weddings to the accompaniment of indigenous musical
instruments and dancing.
 Rituals and dances which became the forerunners of the drama
 The variety of pre-colonial literary forms, more than attesting to the

complexity of the cultures which created them, can help in
reconstructing the period of Philippine literary history which “exerted
and continued to exert influence on the literary works of succeeding
generations, in terms of outlook, theme, and technique” (Lumbera &
Lumbera 2).

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Literature under Spanish Rule
Spain conquered the Philippines using the sword and the cross. Not only did the locals
surrender their political sovereignty to the conqueror; in the main, they also embraced the
religious beliefs, principles and values of Catholicism. The more than three hundred years of
Spanish domination of the country impressed a significant mark on every aspect of the
Filipino people’s way of life. Under a politico-economic system propelled jointly by the church
and the state, a new religion, a wave of western-inspired philosophical thoughts, and a social
structure which was rooted on skin color and theistic orientation, the people’s ideals, hopes,
beliefs, values, and general perspective of things changed dramatically. So did the content
and form of their literature. It might have been inevitable that the ways of the colonizers
flowed spontaneously into the societal stream. It is a fact, however, that some of our own
people deliberately traded their indigenous traditions with the ways of the colonizers. This,
too, is evident in the literature of the period.
● Characteristics of Spanish Colonial Literature
○ Publication was under the joint control of the church and the state.
○ Literature began to see print but oral literature continued among the masses.
○ Published works took a strong religious orientation up until the early years of
the 19th century.
○ Works published by the missionaries were in the vernacular.
○ Those published by Filipinos in the latter part of Spanish rule were in Spanish.
○ Earlier poetry reflected the use of pre-colonial forms but later works showed
Euro-Hispanic influences. Works exuded a strong patriotic tone and a deep
personal feeling.
○ Filipino-authored prose came into print only in the 19 th century
○ Realism began to be seen in Philippine literature, particularly through the
novel, in the latter part of the 19th century.
○ Political ideas, specifically protests against colonial abuses, the clamor for
reforms, and, eventually, the outcry for independence dominated the latter
years of Spanish rule. Reforms in other aspects of life eventually became a
recurrent theme across all genres.
Literary Types during the Period
○ Religious prose and poetry

• Catechism works created by “Ladino” (Latinized) writers
• Dalit, a meditative verse attached to novena prayers
• Pasyon, a long account of Jesus’ agony and death in carefully crafted
octosyllabic (eight-syllable) quintillas and “in strophes of five monoriming
lines” never seen in earlier forms, and was meant to supplant the pagan
epic (Lumbera & Lumbera 8). It derives its vigor as a literary text from the
author’s “insight into the psychology of the biblical figures who emerge

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vividly as though they were the poet’s own contemporaries” (Lumbera &
Lumbera 9). Like the epic, it was sung to a melody set by local tradition.
It was first published in Tagalog, then in Ilocano, Pangasinan, Ibanag,
Cebuana, Bicol, Ilongo and Waray (Godinez-Ortega). Later, it became a
special Lenten piece, sang or recited during the Holy Thursday and Good
Friday vigil.
▪ Sinakulo, which, like the pasyon, treats of Jesus’ passion and death and was
presented during the Lenten season.
▪ Pasyon and sinakulo remain alive in the celebration of Lent in contemporary
Philippines.
○ Secular prose and poetry

▪ Komedya, a theater genre inspired by the heroes and scenes in Spanish
ballads, or love verses. This play in verse, which depicted European
folkways and mores, had plots centered on the exploits of Christian warriors
from a high social class or of the love adventures of Muslims and Christians,
ending with the conversion of the non-Christian to the Christian faith and his
surrender to the power of the Spanish ruler. A march was played to mark the
entrance and the exit characters. It was presented in two or three parts on
consecutive days usually coinciding with the celebration of the patronal feast.
▪ Metrical romance which came in two forms:
▪ Awit, a narrative poem that was either sung or chanted consisting of

four monoriming dodecasyllabic lines.
▪ Korido, another narrative poem, also either sung or chanted composed
of four monoriming octosyllabic (eight-syllable) lines.
▪ Awit and korido were both inspired by Spanish ballads like the komedya. Both
were orally circulated. This is how the more popular compositions
reached a wide audience and got to the consciousness of the masses.
▪ Considered the best example of the awit is Francisco Balagtas’
Florante at Laura, a late nineteenth-century poem depicting a modest love story
almost foiled by selfish person desires but which triumphs in the end following
the twist of political events.
▪ The Novel became a potent vehicle for the campaign for reforms in the latter
part of the 19th century. Foremost in significance are Jose Rizal’s Noli me
Tangere and El Filibusterismo, both of which were meant to bring to the
awareness of the Spanish government in Spain the atrocities of the Spaniards in
the colony.
▪ The Essay. This was widely used to expound on the teachings of the Roman Catholic
Church, on the one hand, and to propel the Propaganda Movement and other
nationalistic endeavors, on the other hand.

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▪ Patriotic verse. Poetry took on a patriotic slant especially during the last century of
Spanish rule.
▪ Literary works on proper decorum
Literature under American Colonial Rule
The passion and fervor in the writings of the propagandists undoubtedly brought the
issues to the doorsteps of many Filipino households, yet the movement was not compelling
enough to effect a dramatic turnaround from the state of things. That Spain bowed out of
Philippine territory at the threshold of the 20 th century was a victory not by and of the Filipinos
but of a new power. The curtain dropped for Spain only to be raised for the United States of
America. The change of hands in political domination yet again ushered in a different breath
of air, politico-economic structure, societal norms and standards, and an almost entirely new
cultural orientation. The response of the Filipino masses became evident in their literary
writings.
● Literary Traditions during the Period
○ English was adopted as medium of instruction and, eventually, as the

language of literature. Spanish remained in use but the best works during
this period were written in English.
○ There was a marked variety, creative energy, passion, and audacity in the
writings of the period, particularly accented by a very strong sense of
patriotism, nationalism, and social consciousness.
○ The Euro-Hispanic tradition (critical theories and themes from Spanish and
European literatures) which flowered during the middle part of the 19 th
century inspired literature during this period until the first two decades of
the 20th century when American and English traditions were introduced.
○ The New Criticism became the order of the period. literary

work as a self-contained artistic work, without looking at other factors
such as the intention of the writer, the historical-cultural background
against which it is written, the reader’s response, and moral biases
became the order of the period.
○ Literary modernism and focus on the writer’s individuality also characterized

the works of the period.
○ Literature in the vernacular continued to be written through magazines such as

Liwayway for the Tagalog-speaking communities, Bisaya for the

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Cebuanos, Bannawag in the Ilokano speaking provinces, Hiligaynon
among the Ilongos, and newspapers which allowed the printing of literary
articles.
○ Oral literature remained in use.
Literary Types during the Period
○ The Balagtas poetic tradition (debate in verse) which remained popular during
the early years of American rule
○ Free verse
○ The modern short story
○ The critical essay, e.g., socio-political commentaries
○ Modern verses in poetry
○ Drama
▪ Allegorical drama which began to gain roots during the Spanish period
▪ Sarsuwela, which was meant to supplant the komedya, depicting
scenes from Philippine life. This gave the viewing public a sense of pride
in their own traditions and culture. Eventually, sarsuwela took the place of the
komedya in the urban areas while the latter gained strong acceptance among
the masses in the rural areas.
○ The novel especially in Tagalog and the local languages serialized in daily
newspapers and weekly magazines. Themes ranged from politics to romance.
The Contemporary Period
Independence . . .a mark of a nation’s maturity, achievement, and solidarity. This is the

loftiest aspiration and the ultimate ambition of a people whose existence is defined by a
common tradition. It was a dream doggedly pursued by the Filipino nation during the four
centuries of foreign domination. When finally it was attained, it engendered unbounded
exultation, fresh hopes, renewed vibrance, and an inspiration to attain further stability. But
also along the way, its tenacity is being challenged in no uncertain terms. While no new
literary form per se has evolved during the period, it is noteworthy that the “traditional” genres
have been given a new face and an unequalled vigor such that they may as well be classified
as sub-genres. Besides, the forms used are those that best express the people’s aspiration of
upholding their sovereignty and the independence of the country they fought hard to obtain,
and of safeguarding their individual freedom and basic rights.
This period may be divided into two:
 From 1946 to 1985. This is marked by a strong nationalistic fervor, a dynamic spirit
to uphold and safeguard the nation’s sovereignty, and a heightened interest in
economic and socio-cultural issues. The change of guards from the Spaniards to

22
the Americans, the brief occupation by the Japanese, and the grant of
independence by the U S government despite its continued influence on the
country’s political affairs all contributed to the web of confusion about the identity of
the Filipino. The search for identity marked the literary works of this period even as
it witnessed the rise to fame of writers who dared to experiment with their craft and
to infuse existential thoughts and American principles and ideas. The latter years of
this period were accented by a growing militancy against the Marcos dictatorship.
 From the EDSA Revolution to the Present. Obviously the most dynamic stage in
the development of Philippine literature, this period has thus far produced a fresh
crop of works in poetry, short story, the critical essay, and the stage play unknown
in depth and brilliance in the history of the country’s literary development.
● Characteristics of Contemporary Literature
○ English and Filipino continue to be the major media of literature.

There is a strong stimulus for reading and writing in Filipino and in the
local languages (vernacular) in the last two decades. It is gratifying to
note that the strongest stimulus is coming from the national government
through the mandated inclusion of the study of local literatures in higher
education and the implementation of the multi-language education (MLE)
policy in basic education.
○ Literature as a venue for socio-politico-economic-religious discussions and a

vehicle for personal thoughts and feelings has become more marked.
○ Literary themes cover a wide range of subjects most outstanding among which
are existentialism and the search for identity in varying levels and
settings, deception and violence perpetuated by those in power,
grinding poverty especially in the country-sides and in some cities,
nationalism, tenant-landlord relationship, human rights violation and
the search for the desaparecidos, and the Filipino diaspora and the
experiences of overseas Filipino workers (OFWs) and migrants.
○ The New Criticism, a critical theory which espouses the study of a literary text
as a self-contained artistic object, without considering external forces
such as the writer’s intention, historical-cultural background against which
it is written, reader’s response and moral bias, provided the
framework for writers and critics during the early part of this period. This
literary orientation redirected writing away from classical traditions
exemplified by Propaganda and Revolution literature toward a standard
that placed focus on the crafting of the work and its effectiveness.
○ The Anglo-American tradition, which includes the free verse and the blank

23
verse, gained acceptance among writers.
○ The Euro-Hispanic tradition was blended with the tradition of propaganda and
revolutionary literature to become a truly Filipino tradition.
○ The ‘60s and the ‘70s saw the resurgence of cause-oriented literature. This
militancy, although markedly toned down, has continued to the present.
○ The post- EDSA tradition has moved literature from an elitist art to a more
reachable vehicle of expression characterized by less significant forms
and mundane subject matter.
○ Further development of regional literatures has been given a stronger impetus

through the inclusion of regional literary masterpieces in the college
curriculum.
○ Filipino writers have become more conscious of their craft as shown by the
regular conduct of writing workshops (Godinez-Ortega 6).
○ Gender and environmental issues have gained ground.
Contemporary Literary Types
○ Modern Poetry – This is a new style of poetry writing in Tagalog, a deviation

from the highly rimed, declamatory tradition known for many centuries.
▪ the Anglo-American inspired poetry of Jose Garcia Villa
▪ the Tagalog verse of Jose Lacaba written in terse but ironic patterns.
▪the Poet employs rimes although he tends to engage the reader in
conversation.
▪ the modern Tagalog verse of Rogelio Mangahas
▪ the free verse, also in Tagalog, of Alejandro Abadilla who pushed for the
naturalness and sincerity of poetry by allowing the thoughts to be
reflected in the lines, without imposing the aspects of rime and
meter
▪ the new poetry of Virgilio Almario. In the hands of this poet, Tagalog
poetry reached a higher plane with his skill in combining the
traditional and the avant-garde.
▪ the bilingual (English and Tagalog) poetry of Rolando Tinio
○ Alejandro Hufana’s and Ricardo Demetillo’s modern epic in English
○ Modern Short Story – These are stories set in the Philippines in the English
language
▪ Kerima Polotan and her focus on women’s search for self-image

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▪ Nick Joaquin’s stories on the search for identity from a historical angle
▪ NVM Gonzales’ writings about identity from an economic perspective.
▪ Wilfrido Nolledo’s departure from the short story pattern of NVM
Gonzales
▪ Jun Cruz Reyes’ “protest short story”
○ The Novel
▪ F. Sionil Jose’s history-inspired novels

▪ Nick Joaquin’s, NVM Gonzales’ and Wilfrido Nolledo’s novels
○ Essay: the critical essay of Virgilio Almario

○ Drama- The activist theater was used as a potent vehicle for nationalistic
Movements especially before and during the Martial Law years
(1972-1986).

25
💬 Activity no. 3
Choose the most appropriate answer for each item.
_______________1.Which of the following statements are true about literature, culture, and
history based on the readings above? Put a check mark before the sentence.
_____ a. History is a tapestry made out of the fine fibers of man’s cultural experiences.
_____b. Certain forms of literature can express emotions and ideas more meaningfully
than others.
_____ c. Man’s thoughts and feelings are the same across cultures since man is a
universal being.
_____ d. Literature, history and culture are at their best as isolated entities.
_____ e. Literary genres develop on their own independent of external forces.
_____ f. Types and themes of literature evolve from changes in man’s needs and
aspirations.
_____ g. Earlier forms of literature are more expressive of cultural traditions than later
genres.
_____ h. Understanding Philippine history is a must for the literary mind venturing into
writing but is merely an option for one engaging in reading.
_____ i. The epic represents the remote history of Philippine culture and strictly
belongs to ancient literary tradition.
_____ j. The shift to the New Criticism is contemporary society’s way of responding to
the structures and suasions of the present.
_______________2.Bugtong and salawikain may be classified as parallel creations except in

terms of:
a) length and poetic structure
b) language orientation
c) communal authorship
d) purpose and focus
_______________3.The folk songs of old reveal the following about the typical Filipino
except:
a)his lack of seriousness in life.
b)his enjoyment of the company of friends.
c)his strong inclination towards work.
d)his natural love for rhythm, harmony, and melody.

26
_______________4.If legends and other prose/folk narratives are the only literary types
which may be safely assumed to have truly originated in pre-colonial times, then:
a)all other literary types originally ascribed to that period are a hoax.
b)further research on the authenticity of other text types ascribed to that period is in order.
c)only legends and folk narratives should be included in literature textbooks.
d) Literary texts such as riddles, proverbs, and songs were obviously Spanish influences.
_______________5.Which of the following pre-colonial literary characteristics is uniquely

Filipino?
a)The oral media
b)Repetition and stereotyping of characters
c)Community life as subject
d)None of the above
e)All of the above
_______________6.The uniqueness of the pasyon in the 18th century literary strait lies in its:
a)focus on the sufferings, crucifixion, and death of Jesus Christ starting with the Last Supper,
based on biblical account.
b)extraordinary length and narrative approach.
c)careful composition, conscious design, and deep insight into the behavior and attitudes of
the characters in the bible.
d)close semblance to folk narratives.
_______________7.The komedya was one of Spain’s powerful instruments to:

a)spread Christianity and flaunt the power of the Spanish crown.
b)perpetuate the drama as an educational and entertaining experience.
c)build on the stage talents of the natives.
d)encourage interest in Spanish ballads.
_______________8.Awit and korido became popular because:

a)they touched on themes which appealed to the people, and were circulated orally.
b)they used the language of the masses and a rhyming scheme and rhythm which the people,
generally, were familiar with.
c)they had a narrative nature.
d)they were pleasing to the political and ecclesiastical officials.
_______________9.The komedya’s rise to popularity among the masses primarily disclosed:

a)a prevalent enthusiasm to learn literacy skills which could be derived from the stage plays.
b)a strong appetite for entertainment.
c)a widespread belief that learning about European culture and adopting European manners
and ways of life were considered a mark of higher socio-economic status.
d)a general preference for things European or foreign.

27
_______________10.The rise of the novel and the critical essay as popular genres during
the U S colonial period was a response to:
a)the socio-political climate in the country
b)the influence of Rizal and the propagandists
c)the need for a vehicle to convey the people’s grievances against oppression
d)A and B
e)All of the above
_______________11.The advent of the New Criticism was a positive turning point in

Philippine literature because:
a)it made writers more aware of the mandatory connection between the structure and
meaning of their literary creation.
b)it strengthened the Balagtas tradition and, thus, encouraged more rhymed and metered
texts.
c)it encouraged the writing of literary critiques.
d)the number of novelists in Tagalog (Filipino) increased dramatically.
_______________12.Lumbera and Lumbera assert that “Philippine literature, at the end of the
period of U S colonialism, had attained identity as national literature. . . .” (103). Such identity
as national literature is shown in:
a)the proliferation of literary works in the vernacular.
b)the focus on literatures of a patriotic and socially conscious nature.
c)the Balagtas poetic tradition and the sarsuwela which are peculiarly Filipino.
d)the passion and daring in the writings of the period.
_______________13.The birth of a new tradition in Tagalog poetry was a result of:

a)the introduction of the Anglo-American literary tradition.
b)the coming of age of Tagalog.
c)the use of English in literary circles.
d)the creative genius of Abadilla, Mangahas, Almario and Lacaba.

28
MODULE III.
LITERARY WORKS
Pre-Colonial Literature (-- 1564)

Ambahan Lamge Dangdang-Ay An Balud Dumheb Ako a Dumanis
The Second Creation Tungkung Langit and Alunsina The Great Flood
The Story of the Orphan Girl How the Angels Built Lake Lanao
Tuwaang Attends a Wedding Tuwaang in Battle
Under Spanish Colonialism (1565-1897)

Modesto de Castro – Urbana and Felisa
Leona Florentino - Desire’s Unlikely End
Marcelo H. Fel Pilar – The Passion Story that Ought to Inflame
Jose Rizal – To the Flowers of Heidelberg
Andres Bonifacio – What the Filipinos Should Know
Gregoria De Jesus – My Love, Ever Since You Left Me
Emilio Jacinto – Light and Darkness
Victoria Laktaw – Our Plea
Under US Colonialism (1898-1945)

Luis Dato - The Spouse
Cecilio Apostol – To the Yankee
Deogracias A. Rosario – Greta Garbo
Manuel Arguilla – A Son is Born
Carlos Bulosan – Two Faces of America
Carlos Bulosan - My Brother Goes to Court
Angela M. Gloria - To a Lost One
Angela M. Gloria – I Have Begrudged the Years
Amador Daguio – Man of Earth
Amador Daguio – Wedding Dance
Rafael Zulueta de Costa – Like the Molave
Paz Marquez Benitez – Dead Stars
Jose Garcia Villa – Footnote to Youth
Under the Republic (1946-1971)

Jose Garcia Villa – Poem 10
Emmanuel Torres – Song for a Dry Season Week 7
Nick Joaquin – Three Generations
Bienvenido Santos – The Contender
Bienvenido N. Santos – The Day the Dancers Came
Kerima Polotan – Sounds of Sunday
NVM Gonzales – Children of Ash-Covered Loam
NVM Gonzales – Bread of Salt

29
Francisco Arcellana – Divide by Two
Estrella Alfon – Magnificence
Gilda Cordero Fernando – The Level of Each Day’s Need
Manuel Bernabe – The Pilgrimage of Death
Efren Abueg – The Death of Tio Samuel
Amado V. Hernandez – Isolation Cell
Alejandro Abadilla – I Am the Universe
Under Martial Law (1972-1985)

Rolando S. Tinio – Valediction at Hillcrest
Virgilio S. Almario – The Life of Ka Bestre, Rig-Driver
Jose F. Lacaba – Force of Circumstance
Lamberto Antonio – Night of a Construction Worker
Bonifacio Ilagan – The Sermon
F. Sionil Jose – Dusk
F. Sionil Jose - Mass
Amadis Ma. Guerrero – Children of the City
Carmen Guerrero Nakpil – The Filipino Woman
Padro Cruz Reyes Jr. – King’s Decree
Leoncio P. Deriada – Dog Eaters
Under the EDSA Democracy (1986-1994)

Mariano Kilates – Of Children Dying by Hunger Negros Elsewhere
Merlinda Bobis – Peopleness
Ninotchka Rosca – State of War
Edgardo Maranan – Hinterland
Benilda S. Santos – The Intellectual
Eric Gamalinda – Edge and Mourning and Weeping in this Valley of Tears
Charlson Ong – A Tropical Winter’s Tale
Gregorio Brillantes – The Fllod in Tarlac
Edgardo B. Maranan – Cogon
Jessica Zafra – Portents
Katrina Tuvera – The Flight
Under the Age of Globalization (1995-Present)
Cristina Pantoja-Hidalgo - Recuerdo
Danton Remoto – from Gaydar and Pulot Gata
Ramil Digal Gulle – Twenty Fifth Fly
Alfred Yuson – Pillage
Edgar Maranan - Tabon
Ian Casocot – Old Movies
Elsa Martinez Coscolluela - Katipunera
Lakambini Sitoy – Shut Up and Live
Socorro Villanueva – We Won’t Cry Over This
(and other writer

30
Literary Criticism
By reading and discussing literature, we expand our imagination, our sense of what is
possible, and our ability to empathize with others. Improve your ability to read critically and
interpret texts while gaining appreciation for different literary genres and theories of
interpretation. Read samples of literary interpretation. Write a critique of a literary work.
Below are some of the theories on literary criticism with some questions invoked by each
theories. Consider these questions as you read a work, perhaps taking notes on your
thoughts as you reread. You may focus on using one theory to “read and interpret” text or,
more commonly, you may compare the critical concerns of different theories.
New Criticism/Formalism
Character: How does the character evolve during the story? What is unique or interesting
about a character? Is the character a stereotypical action hero, a patriarchal father figure, or
Madonna? How does a character interact with other characters?
Setting: How does the setting enhance tension within the work? Do any elements in the
setting foreshadow the conclusion of the piece?
Plot:What is the conflict? How do scenes lead to a suspenseful resolution? What scenes
make the plot unusual, unexpected, suspenseful?
Point of View: Who is telling the story? Is the narrator omniscient (all knowing) or does the
narrator have limited understanding?
Reader-Response Criticism
How does the text make you feel? What memories or experiences come to mind when
you read? If you were the central protagonist, would you have behaved differently?
Why? What values or ethics do you believe are suggested by the story? As your
reading of a text progresses, what surprises you, inspires you?
Feminist Criticism
How does the story re-inscribe or contradict traditional gender roles? For example, are the
male characters in “power positions” while the women are “dominated”? Are the men prone to
action, decisiveness, and leadership while the female characters are passive, subordinate?
Do gender roles create tension within the story? Do characters’ gender roles evolve over the
course of the narrative?
New Historicism Cristicism

How does the story reflect the aspirations and conditions of the lower classes or upper
classes? Is tension created by juxtaposing privileged, powerful positions to subordinated,
dominated positions? What information about the historical context of the story helps explain
the character’s motivations? Who benefits from the outcome of the story or from a given
character’s motivation?

31
Media Criticism
How does the medium alter readers’ interactions with the text? Has the reader employed
multimedia or hypertext? What traditions from print and page design have shaped the
structure of the text? In what ways has the author deviated from traditional, deductively
organized linear texts?

32
💬 Final Activity
For your final activity, you ad your partner are to make a literary criticism found on
pages 29 to 30. The theory you will use is the Reader-Response Criticism, below is the
summary; purpose, steps and guidelines on how to make one.
Summary
We have examined many schools of literary criticism. Here you will find an in-depth look at
one of them: Reader-Response.
The Purpose of Reader-Response
Reader-response suggests that the role of the reader is essential to the meaning of a text, for
only in the reading experience does the literary work come alive.
For example, in Mary Wollstonecraft Shelley’s Frankenstein (1818), the monster doesn’t exist,
so to speak, until the reader reads Frankenstein and reanimates it to life, becoming a co-
creator of the text.
Thus, the purpose of a reading response is examining, explaining, and defending your
personal reaction to a text.
Your critical reading of a text asks you to explore:

1. why you like or dislike the text;
2. explain whether you agree or disagree with the author;
3. identify the text’s purpose; and
4. critique the text.
There is no right or wrong answer to a reading response. Nonetheless, it is important

that you demonstrate an understanding of the reading and clearly explain and support
your reactions. Do not use the standard approach of just writing: “I liked this text
because it is so cool and the ending made me feel happy,” or “I hated it because it was
stupid, and had nothing at all to do with my life, and was too negative and boring.” In
writing a response you may assume the reader has already read the text. Thus, do not
summarize the contents of the text at length. Instead, take a systematic, analytical
approach to the text.
Write as a Scholar
When writing a reader-response write as an educated adult addressing other adults or fellow
scholars. As a beginning scholar, if you write that something has nothing to do with you or
does not pass your “Who cares?” test, but many other people think that it is important and
great, readers will probably not agree with you that the text is dull or boring. Instead, they

33
may conclude that you are dull and boring, that you are too immature or uneducated to
understand what important things the author wrote.
Criticize with Examples

If you did not like a text, that is fine, but criticize it either from: principle, for example:
• Is the text racist?
• Does the text unreasonably puts down things, such as religion, or groups of people,
such as women or adolescents, conservatives or democrats, etc?
• Does the text include factual errors or outright lies?
• It is too dark and despairing? Is it falsely positive?
For its form, for example:

• Is the text poorly written?
• Does it contain too much verbal “fat”?
• Is it too emotional or too childish?
• Does it have too many facts and figures?
• Are there typos or other errors in the text?
• Do the ideas wander around without making a point?
In each of these cases, do not simply criticize, but give examples. As a beginning scholar, be
cautious of criticizing any text as “confusing” or “crazy,” since readers might simply conclude
that you are too ignorant or slow to understand and appreciate it.
The Structure of a Reader-Response Essay
Choosing a text to study is the first step in writing a reader-response essay. Once you have
chosen the text, your challenge is to connect with it and have a “conversation” with the text.
In the beginning paragraph of your reader-response essay, be sure to mention the

following:
1. title of the work to which you are responding;
2. the author; and
3. the main thesis of the text.
Then for the body or main content, do your best to answer the questions below.
Remember, however, that you are writing an essay, not filling out a short-answer
worksheet. You do not need to work through these questions in order, one by one, in your
essay. Rather, your paper as a whole should be sure to address these questions in some way.
1. What does the text have to do with you, personally, and with your life (past,
present or future)? It is not acceptable to write that the text has NOTHING to do with
you, since just about everything humans can write has to do in some way with every
other human.

34
2. How much does the text agree or clash with your view of the world, and what
you consider right and wrong? Use several quotes as examples of how it agrees
with and supports what you think about the world, about right and wrong, and about
what you think it is to be human. Use quotes and examples to discuss how the text
disagrees with what you think about the world and about right and wrong.
3. What did you learn, and how much were your views and opinions challenged or
changed by this text, if at all? Did the text communicate with you? Why or why
not? Give examples of how your views might have changed or been strengthened (or
perhaps, of why the text failed to convince you, the way it is). Please do not write “I
agree with everything the author wrote,” since everybody disagrees about something,
even if it is a tiny point. Use quotes to illustrate your points of challenge, or where you
were persuaded, or where it left you cold.
4. How well does the text address things that you, personally, care about and
consider important to the world? How does it address things that are important
to your family, your community, your ethnic group, to people of your economic
or social class or background, or your faith tradition? If not, who does or did the
text serve? Did it pass the “Who cares?” test? Use quotes from the text to
illustrate.
5. What can you praise about the text? What problems did you have with it?
Reading and writing “critically” does not mean the same thing as “criticizing,” in
everyday language (complaining or griping, fault-finding, nit-picking). Your “critique”
can and should be positive and praise the text if possible, as well as pointing out
problems, disagreements and shortcomings.
6. How well did you enjoy the text (or not) as entertainment or as a work of art? Use
quotes or examples to illustrate the quality of the text as art or entertainment. Of
course, be aware that some texts are not meant to be entertainment or art: a news
report or textbook, for instance, may be neither entertaining or artistic, but may still be
important and successful.
For the conclusion, you might want to discuss:

1. your overall reaction to the text;
2. whether you would read something else like this in the future;
3. whether you would read something else by this author; and
4. if would you recommend read this text to someone else and why.

35
*TO MAKE IT ALL EASY FOR YOU, THE REMAINING ACTIVITIES AS WELL AS THE
FINAL ACTIVITIES WILL BE DONE BY PAIR.
*DUE DATE IS ON THE 6TH OF JANUARY, 2020.
**FINAL ACTIVITIES WILL BE SUBMITTED THE SAME AS YOUR ASSIGNMENT AND

1ST ACTIVITY, WHILE THE FINAL ACTIVITY MUST BE SUBMITTED IN PDF FILE THRU
MY EMAIL and furaidaatiking@30@gmail.com
Format:
File name: Title of the literary work_Family Names.pdf
example WeddingDance_Bernardo&Padilla.pdf
Font size: 14
Font style: Arial or Calibri
Spacing: 1.15
Rubric is on the next page.

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Episcopal Diocese of Southern Philippine

BRENT HOSPITAL AND COLLEGES INCORPORATED

PHILIPPINE LITERATURE IN ENGLISH

BHCI/General Education/ Furaida A. Tiking

Disclaimer and Liability

BHCI/General Education/ Furaida A. Tiking

Furaida A. Tiking Timothy C. Gomez Jennifer C. Sampang, MN

Ma. Erma P. Dormido, MSMT

Eric V. Galo, MD, FCPP

Jickson A. Jainal, MPH

Daniele B. Ramos, MSPT

BHCI/General Education/ Furaida A. Tiking

• Use a descriptive subject line.

BHCI/General Education/ Furaida A. Tiking

MESSAGE BOARD NETIQUETTE AND GUIDELINES

BHCI/General Education/ Furaida A. Tiking

COURSE CODE: English 4

COURSE TITLE: Philippine Literature in English

COURSE CREDIT: 3 units lecture ( 54 hours/ semester)

PLACEMENT: 1stYear, 1st Semester

BHCI/General Education/ Furaida A. Tiking

4. Researched on local/West Visayan folklore for presentation in a class forum;

BHCI/General Education/ Furaida A. Tiking

MODULE I. Introduction to the Study of Literature

Nature and Essence of Literature

MODULE II. The Literary Forms in Philippine Literature

Literature under Spanish Rule

Literature under American Colonial Rule

The Contemporary Period

MODULE III. Literary works

BHCI/General Education/ Furaida A. Tiking

• Activities per Module

BHCI/General Education/ Furaida A. Tiking

Nature and Essence of Literature

It has been defines differently by various writers:

• Literature any printed matter written in a book, a magazine or a pamphlet.

Importance of studying Philippine Literature

We can enumerate many reasons for studying Literature

Here are but a few:

• We study literature so that we can better appreciate our literary heritage.

BHCI/General Education/ Furaida A. Tiking

Divisions and Forms of Literature

BHCI/General Education/ Furaida A. Tiking

BHCI/General Education/ Furaida A. Tiking

Elements of Each Form

Elements of Prose Elements of Poetry

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Provide the answer of the following questions:

2. Literature as a faithful reproduction of man’s manifold _______ blended into one

3-5. Three reasons why do we need to study Philippine Literature.

10.This is a lyric poem of 14 lines dealing with an emotions, a feeling, or idea.

BHCI/General Education/ Furaida A. Tiking

BHCI/General Education/ Furaida A. Tiking

Characteristics of Pre-colonial Literature (Lumbera & Lumbera 2 – 3)

o It was basically oral.

Types of Pre-colonial Literature (Lumbera & Lumbera 1-5; Godinez-Ortega 1-2):

o Riddles or bugtong. These are short rhymed puzzles, usually in a couplet,

o Proverbs or salawikain. Similar to the bugtong, the proverb is a short

o Monoriming heptasyllabic lines. (Monorime or Monorhyme refers to a

 Tanaga. An example of a monoriming heptasyllabic quatrain, the

BHCI/General Education/ Furaida A. Tiking

 Lullaby or hele. This is a mother’s song to calm a baby or put

 Love songs or serenade. This is the harana in Tagalog,

 Ambahan. This Mangyan song depicts human relationships