CORE 5 21st Century Literature

CORE 5
21ST CENTURY FROM THE

PHILIPPINES AND THE WORLD
21st Century Literature from the
CORE 5: Philippines and the World
CORE 5: 21st Century Literature from the Philippines and the World 321
TABLE OF CONTENTS
UNIT I: LITERATURE FROM THE PHILIPPINES

LESSON 1: Facets and Importance of Literature 322
LESSON 2: Canonical Writers from CALABARZON 326
335
LESSON 3: Development of 21st Century Literature in
the Region
LESSON 4: Literary Pieces from CALABARZON 349
UNIT II: LITERATURE FROM THE WORLD

LESSON 1: Literature from Asian Countries 359
LESSON 2: Literature from Arabia 368
LESSON 3: Literature from Africa 372
LCC SILVERCREST SENIOR HIGH SCHOOL

UNIT 1
Literature from the Philippines
At the end of the lessons, the students will be able to:
1. Ascertain the importance of literature in their lives as individuals

2. Recognize 21st-century literature from CALABARZON specifically those from
Batangas province
3. Show appreciation of the region’s rich culture and heritage through literature
4. Name writers and authors from the region and their literary works
5. Analyze and interpret sample literary pieces from the region
6. Produce a creative representation of a literary text by applying multi-media skills
LESSON 1
Facets and Importance of Literature
Students of today are already products of the highly technological and fast-
pacing world. They are even tagged as the millennials for they are very much equipped
and knowledgeable in the use of computers, laptops, tablets, high-end cell phones, and
other similar gadgets. But little did they know that apart from being useful to them in their
daily lives, what they are browsing using these gadgets are the different forms of
literature. It is therefore high time that they take advantage of the use of these gadgets
to better understand and appreciate literature.
Literature is a term used to describe written and sometimes spoken material.

Derived from the Latin litteratura meaning "writing formed with letters," literature most
commonly refers to works of the creative imagination, including poetry, drama, fiction,
nonfiction, journalism, and in some instances, song.
Simply put, literature represents the culture and tradition of a language or a

nation. It's difficult to precisely define, though many have tried, it's clear that the
accepted definition of literature is constantly changing and evolving.

For many, the word literature suggests a higher art form; merely putting words on
a page doesn't necessarily mean creating literature. A canon is the accepted body of
works for a given author. Some works of literature are considered canonical, that is
culturally representative of a particular genre.
Literature in its broadest sense is everything that has ever written. Through
literature, we learn the innermost feelings and thoughts of people – the most real part of
themselves, thus we gain an understanding not only of others, but more importantly, of
ourselves and of life itself. Literature offers us an experience in which we should
participate as we read because it does not yield much unless we bring something of
ourselves to it.
Literature illuminates life. It is our life’s story including its struggles, ideals,
failures, sacrifices, and happiness. It likewise appeals to man’s higher nature and its
needs – emotional, spiritual, intellectual, and creative. Like all other forms of art,
literature entertains and gives pleasures. It fires the imagination, amuses noble emotions
and it enriches man by enabling him to reflect on life and by filling him with new ideas.
Literature is one of the seven arts (others of which are music, dance, theater, painting,
sculpture, and architecture) which is a product of a creative work, the result of which is
form and beauty.
Standards of Good Literature
Good literature is distinguishable by the following qualities:
 Artistry – quality which appeals to our sense of beauty

 Intellectual Value – quality which stimulates thought and enriches our mental life
by making us realize fundamental truths about life and human nature
 Suggestiveness- quality that is associated with the emotional power of
literature, such that it should move us deeply and stir our creative imagination,
giving and evoking visions above and beyond the plane of ordinary life and
experience
 Spiritual Value- quality that inspires and elevates the spirit by bringing out moral
values which make us better persons
 Permanence – quality of literature that shows endurance that the piece can be
read again and again as each reading gives fresh delight and new insights and
open new worlds of meaning and experience

 Universality – quality that refers to being timeless and timely which means that a
piece of literature is forever relevant in terms of its theme and conditions
Enrichment Activity:
Recall any form of literature that had an everlasting effect on you because it
inspired you and enlightened you about the realities of life. Try to remember if the
qualities mentioned above are present in that piece of literature. Share it with your
classmates.
Two Main Divisions of Literature
The two major classifications of literature had long been discussed since
elementary grades but to give a better overview especially on their differences, a table is
hereby presented:
PROSE POETRY
Form Written in paragraph form Written in stanza or verse
form
Language Expressed in ordinary form Expressed in metrical,
rhythmical and figurative
language
Appeal To the intellect To the emotion
Aim To convince, instruct, To stir the imagination and
imitate and reflect set an idea of how life
should be
Examples of Prose
1. Prose Drama- consists dialogues in prose and intended to be acted on stage

2. Essay- expository composition which shares the thoughts, observations, and
feelings of the writer
3. Novel- long fictitious narrative with a complicated plot and normally divided into
chapters
4. Short Story- a narrative with one outstanding plot thus compressed into one unit
of time, place and action
5. Biography- story of a person’s life written by another who knows him

6. Letter- a written message which by the force of its style and the importance of
it’s statement becomes an object of interest in its own right
7. Diary- a daily record of the writer’s own experiences, thoughts, and activities
8. Anecdote- a brief narrative concerning a particular individual or incident
9. Character Sketch- a short description of the qualities or traits of a person
10. Parable- a short tale from the Bible which is normally allegorically presented
11. Book Review- an article dealing with the contents and literary worth of a book
12. Eulogy- a writing in praise of a dead person, event or thing
13. Speech- general word for a discourse delivered to an audience
14. Oration- suggests an eloquent, rhetorical sometimes merely bombastic speech
delivered on some special occasion
15. Journal- a magazine or periodical especially of a serious or learned nature
Examples of Poetry
1. Narrative Poetry – a poem that tells a story

a. Epic – a tale centering about a hero; following his war, conquest, strife,
and struggles among men who are in such a position that their
hindrances take on tribal or national significance
b. Metrical Romance- a narrative poem that tells a story of adventure, love,
and chivalry
c. Metrical Tale – a narrative poem consisting of a single series of
connecting events that are simple
d. Ballad – a short narrative poem telling single incident in simple meter and
stanzas. It is intended to be sung.
2. Lyric Poetry – derived its name from the musical instrument lyre. These poems
are very personal in nature because these express the author’s feelings,
thoughts, moods, and reflections.
a. Ode – the most majestic of the lyric poems. This is written in the spirit of
praise of some persons or things
b. Elegy – a poem written on the death of a friend of the poet. The purpose
is to praise the friend but expect that towards the end, the poet will have
come to terms with his grief
c. Song – a lyric poem in a regular metrical pattern set to music. These have
twelve syllables ( dodeca syllabic) and slowly sung to the accompaniment
of a guitar or banduria

d. Corridos- these have measures of eight syllables (octosyllabic) and

recited to a material beat
e. Sonnet – a poem with 14 lines in a stanza. It follows four iambic
pentameter lines and has a complicated rhyme
f. Pastoral Poems - a poem which has a theme about the nature,
environment, and life in the countryside
3. Dramatic Poetry- just like an ordinary drama, this is intended to be staged

before an audience; only that the lines and dialogues used here employ meter,
rhyme, and rhythm
Enrichment Activity
Identify a novel or short story that you had read which has a movie counterpart.
Using a T- chart, determine the similarities and differences of the written version and the
movie version. Report the output to the class.
LESSON 2
Canonical Writers from CALABARZON
Calabarzon formally known as Southern Tagalog Mainland and designated

as CALABARZON Region is an administrative region in the Philippines. The region
comprises five provinces: Cavite, Laguna, Batangas, Rizal, and Quezon; whose names
form the acronym CALABARZON. Its regional center is Calamba in Laguna.
The diverse topography and varied natural attractions make this region
interesting. Beaches and dive spots, forests and caves, mountains and hills, waterfalls
and hot springs; they are all in the region. This is the home of Laguna de Bay – the
country’s largest freshwater lake. It also boasts of Taal Lake, which contains the world’s
smallest but still very active volcano, a lake within a volcano.
Because of its proximity to the national capital, CALABARZON has seen steady
industrial growth and urbanization in recent years. But the local culture is still very much
alive. Historical landmarks, monuments, old churches, and shrines dot the region’s
landscape.

The area is rich in history. It is where the Philippines’ independence from Spain
was first declared in 1898. It is also the birthplace of national heroes such as Jose Rizal
(from Calamba, Laguna), Emilio Aguinaldo (from Kawit, Cavite), Apolinario Mabini (from
Tanauan, Batangas) and Miguel Malvar (from Sto. Tomas, Batangas).
CALABARZON is also rich in cultural traditions. Laguna is known for embroidery,

wood carving, and papier-mâché (locally known as taka). Quezon has harvest festivals
and flamboyantly decorated houses. Rizal has artisan villages and art galleries.
But the region is not only known because of the mentioned aspects of culture
and heritage. The richness of the region also lies with the literature that the canonical
authors and writers from Region 4A have written, produced and published.
Famous Writers from CALABARZON
The Calabarzon region has been blessed with authors endowed with genius
talent in writing literary pieces. The following are some of those writers who selflessly
contributed to the development of regional literary traditions as well as in the
development of national literature:
1. José Protasio Rizal Mercado y Alonso Realonda, popularly known as José

Rizal (June 19, 1861 – December 30, 1896), was a Filipino nationalist during the
tail end of the Spanish colonial period of the Philippines. An ophthalmologist by
profession, Rizal became a writer and a key member of the Filipino Propaganda
Movement which advocated political reforms for the colony under Spain. He was
executed by the Spanish colonial government for the crime of rebellion after
an anti-colonial revolution, inspired in part by his writings, broke out. Though he
was not actively involved in its planning or conduct, he ultimately approved of its
goals which eventually led to Philippine independence. He is widely considered
one of the greatest heroes of the Philippines, and is implied by Philippine law to
be one of the national heroes. He was the author of the novels Noli Me
Tángere and El filibusterismo, and a number of poems and essays. Some of
which are “ Mi Ultimo Adios,” “ Sa Aking mga Kabata,” “Hymn to Labor,” “Song of
Maria Clara,” “ Memories of My Town” and “To Josephine.”
2. Efren Reyes Abueg (born March 3, 1937 in Tanza, Cavite) is a well-known and
recognized Filipino-language creative writer, editor, author, novelist, short story

writer, essayist, fictionist, professor, textbook writer, and anthologist in

the Philippines. His works appeared on magazines such as Liwayway, Bulaklak,
Tagumpay, Mod, and Homelife.
He attended Naic Elementary School in Naic, Cavite in 1950. In 1954, He
finished high school at Arellano (Public) High School in Manila. He graduated in
1957 from Imus Institute Junior College in Imus, Cavite with an Associate in Arts
degree and graduated with the degree of Bachelor in Science in Commerce,
Major in Accounting in 1960 from Manuel L. Quezon University in Quiapo,
Manila. He got his Masters in Arts in Language and Literature degree at De La
Salle University-Manila in 1987 and his PhD in Filipino and Translation Studies at
the University of the Philippines in 2000. Some of his famous literary pieces are
“Huwag Mong Sakyan ang Buhawi,” “Mga Haliging Inaanay,” “Aawitin ko Ang
Pag-Ibig Mo,” “Saranggola,” “Mapanglaw ang Mukha ng Buwan,” and “Ang
Bagong Paraiso.”
3. Alejandro G. Abadilla (March 10, 1906 – August 26, 1969), commonly known
as AGA, was a Filipino poet, essayist and fiction writer. Critic Pedro
Ricarte referred to Abadilla as the father of modern Philippine poetry, and was
known for challenging established forms and literature's "excessive romanticism
and emphasis on rhyme and meter". Abadilla helped found the Kapisanan ng
Panitikan in 1935 and edited a magazine called Panitikan. His Ako ang
Daigdig collection of poems is one of his better-known works.
Abadilla was born to an average Filipino family on March 10, 1906, in Salinas,
Rosario, and Cavite. He finished elementary school at Sapa Barrio School, then
continued for high school education in Cavite City. After graduation, he went
abroad and worked for a small printing shop in Seattle, Washington. He edited
several sections of the Philippine Digest, Philippines-American Review and
established Kapisanang Balagtas (Balagtas' Organization). In 1934, he returned
to the Philippines where he finished AB Philosophy at the University of Santo
Tomas. Until 1934, he became municipal councilor of Salinas before shifting to
an insurance selling job.
4. Paz Marquez – Benítez was born in 1894 in Lucena, Tayabas (now Quezon).
She authored the first Filipino modern English language short story, Dead Stars,
published in the Philippine Herald in 1925. Born into the prominent Marquez
family of Quezon province, she was among the first generation of Filipino people

trained in the American education system which used English as the medium of
instruction. She graduated high school in Tayabas High School now, Quezon
National High School. She was a member of the first freshman class of the
University of the Philippines, graduating with a Bachelor of Arts degree in 1912.
Two years after graduation, she married UP College of Education Dean
Francisco Benítez with whom she had four children.
Márquez-Benítez later became a teacher at the University of the Philippines, who
taught short-story writing and had become an influential figure to many Filipino
writers in the English language, such as Loreto Paras-Sulit, Paz M. Latorena,
Arturo Belleza Rotor, Bienvenido N. Santos and Francisco Arcellana. The
annually held Paz Marquez-Benitez Lectures in the Philippines honors her
memory by focusing on the contribution of Filipino women writers to Philippine
Literature in the English language.
Although she only had one more published short story after "Dead Stars" entitled
"A Night in the Hills," she made her mark in Philippine literature because the
former is considered the first modern Philippine short story.
5. Ismael V. Mallari or more popularly known as I.V Mallari hailed from the Rizal
Province. Mallari went to the Philippine Normal School in Manila, and then he
went as a government pensionado to the University of Wisconsin (USA) for
further studies in English, Education and Library Science. For his
accomplishments, Mallari was included in the Pan-Pacific Who’s Who and the
Who’s Who Library Science. He's famous for his work "The Stranger" which
focuses mainly on the life of a regular person to a good believing person. He had
a gift of laughter as shown in his book "When I Was a Little Boy". He was a
teacher in Philippine Normal University of the East.
He wrote "Values" which talks about the values that the people might have
developed that should be changed by learning how to appreciate life. One of his
most popular essays and is still of subject for discussion is “Pliant like the
Bamboo.”
6. Celso Ad Castillo (September 12, 1943 – 26 November 2012) was a Filipino

movie director, screenwriter, and actor. Castillo was born in Siniloan, Laguna on

September 12, 1943. He became a movie director, scriptwriter, and actor. He

was the son of Atty. Dominador Ad Castillo, lawyer/writer, and Marta Adolfo.
Castillo started as a writer for a comic magazine. With the help of his
father, he published his own magazine where he wrote all the stories from cover
to cover, using different names as authors. A movie producer commissioned him
to write a script on the character of “James Bandong ", named after Britain's
superspy. The film made money and it was followed by a sequel, Dr. Yes, 1965,
a spoof on the British film, Dr. No. He wrote and directed his first movie, Misyong
Mapanganib (Dangerous Mission), in 1966.
Succeeding Castillo films aspired towards thematic originality: small-town
perversion in Ang Madugong Daigdig ni Salvacion (The Bloody World of
Salvacion), 1975; incest in Tag-ulan sa Tag-araw (Rainy Days in Summer), 1975;
political and period gangsterism in Daluyong at Habagat (Tall Waves, Wild
Wind), 1976. Even his sex films had to message to tell. One finds spiritual
undertones in the story of an oversexed girl in Nympha (Nymph), 1971; a
struggle of conscience in a stripteaser who laughed on the outside but cried on
the inside in Burlesk Queen (Burlesque Queen), 1977; tribal conflict in Aliw-iw,
1979; a conflict of family values in Snake Sisters, 1983; and the politics of
domination in Isla (Island), 1983.
Other notable Castillo films are Ang Mahiwagang Daigdig ni Pedro
Penduko (The Wonderful World of Pedro Penduko), 1973; Ang
Pinakamagandang Hayop sa Balat ng Lupa (The Most Beautiful Animal on the
Face of the Earth), 1975; Ang Alamat ni Julian Makabayan (The Legend of Julian
Makabayan), 1979; Totoy Boogie, 1980; Uhaw na Dagat (Thirsty Sea), 1981;
Pedro Tunasan, 1983; Virgin People, 1983; and Payaso (Clown), 1986. It was
Castillo who started a trend in Philippine movies known as the wet look which
later helped establish bomba film as a definite genre
Celso Ad Castillo, died early Monday, November 26, 2012 due to a heart
attack, according to the director’s brother John Castillo, who was working on his
autobiography “Celso Ad. Castillo: An Autobiography and His Craft,” died at
1:45 a.m. at his home in Siniloan, Laguna. He was brought to Pakil General
Hospital at around 3:00 AM where he was declared dead on arrival.
7. Claro Mayo Recto, Jr. (born Claro Recto y Mayo; February 8, 1890 – October
2, 1960) was a Filipino statesman, jurist, poet and one of the foremost statesmen

of his generation. He is remembered for his nationalism, for "the impact of his
patriotic convictions on modern political thought.
Recto was born in Tiáong, Tayabas (now known as Quezon province),
Philippines, of educated, upper-middle-class parents, Claro Recto, Sr.
of Rosario, Batangas, and Micaela Mayo of Lipa, Batangas. He studied Latin at
Instituto de Rizal in Lipa, Batangas, from 1900 to 1901. He continued his
education at Colegio Del Sagrado Corazón of Don Sebastián Virrey. He moved
to Manila to study at Ateneo de Manila where he consistently obtained
outstanding scholastic grades, graduating with Bachelor of Arts degree maxima
cum laude. He received a Masters of Laws degree from University of Santo
Tomás. He later received his Doctor of Laws (Honoris Causa) honorary degree
from Central Philippine University in 1969.
Since the school is geographically located in the province of Batangas, more
focus shall be given to canonical authors who have dramatically contributed to
the development of literature in the province. The following are some of the
known writers from the province of Batangas:
1. Teodoro Andal Agoncillo (November 9, 1912 – January 14, 1985) was a
20th-century Filipino historian. He and his contemporary Renato
Constantino were among the first Filipino historians renowned for promoting a
distinctly nationalist point of view of Filipino history (nationalist
historiography). He was also an essayist and a poet.
He was named National Scientist of the Philippines in 1985 for his
distinguished contributions in the field of history. Agoncillo was also among
the few academics who held the rank of University Professor, an academic
rank given to outstanding faculty members with specialization in more than
one of the traditional academic domains (Science & Technology; Social
Sciences; and Arts & Humanities), at the University of the Philippines
Diliman.
Born in Lemery, Batangas to Pedro Agoncillo and Feliza Andal, Agoncillo
obtained a bachelor's degree in philosophy from the University of the
Philippines in 1934 and a master's degree in the arts from the same
university the following year. He earned his living as a linguistic assistant at
the Institute of National Language and as an instructor at the Far Eastern
University and the Manuel L. Quezon University. In 1956, he published his
seminal work, Revolt of the Masses: The Story of Bonifacio and the
Katipunan, a history of the 1896 Katipunan-led revolt against Spanish rule

and its leader, Andres Bonifacio. He garnered acclaim for this book, as well
as criticisms from more conservative historians discomfited by the work's
nationalist bent.
In 1958, Agoncillo was invited to join the faculty of the Department of
History of his alma mater, the University of the Philippines. He remained with
the university until his retirement in 1977, chairing the Department of History
from 1963 to 1969. Philippine President Diosdado Macapagal named
Agoncillo as a member of the National Historical Institute in 1963. He served
in this capacity until his death in 1985.
Agoncillo's History of the Filipino People, first published in 1960, remains
a popular standard textbook in many Filipino universities, as are many of
Agoncillo's other works. This is despite Agoncillo's controversial tone and for
his perceived leftist bent. Gregorio Zaide, Teodoro Agoncillo, Reynaldo Ileto,
and Renato Constantino stand as the most prominent 20th-century Filipino
historians to emerge during the post-war period. However, opponents of
Agoncillo contend that Agoncillo's works suffer from uneven scholarship
throughout, especially with his use (or especially, non-use) of reliable
historical sources, even when his opponents could not offer solid rebuttals.
Agoncillo is related to Don Felipe Agoncillo, the Filipino diplomat who
represented the Philippines in the negotiations that led to the Treaty of Paris
1898, Dona Marcela Agoncillo, the principal seamstress of the Philippine flag.
2. Jhet van Ruyven (born Juliet Torcelino; January 9, 1959) is a Filipino-
Canadian author who wrote the auto-biographical book The Tale of Juliet in
2005. The Tale of Juliet is van Ruyven's self-published book which tells her
life story from being a poor child vendor in the Philippines to succeeding as
an immigrant in Canada. Following the launch of her book, van Ruyven was
recognized by People Asia Magazine as one of the awardees of the 2005
People of the Year in the Philippines and won an Honorable Mention for Best
Non-Fiction Book at the Independent Publisher Award in Western Canada.
Van Ruyven was born in a rural village in Pader, Batangas, Philippines to
a family of 12 siblings. Her father was a family driver and her mother a
vendor. To earn extra money to help her parents, van Ruyven had to spend
her childhood selling food and merchandise after going to school. She sold
mangoes, rice cakes, fish, vegetables and candies in her neighborhood and
in the popular tourist spot Matabungkay Beach in Batangas.

She was sent to college on scholarship by a priest. After finishing a

medical secretarial course, van Ruyven was employed in a local hospital
in Manila. She then moved on to working overseas, as an executive secretary
in a hospital in Yemen where she met her husband, Ted van Ruyven, an
aviation engineer.
After her marriage in 1987, van Ruyven immigrated
to Vancouver, Canada with her husband. They had two daughters, Michelle
and Catherine. As a stay-at-home mother, van Ruyven accepted typing jobs
and provided computer tutorial lessons to neighbors. She then accepted a job
in Discovery Toys as a sales executive. In 1994, van Ruyven set-up her own
print business, Digi-Print Graphics Plus in Surrey, British Columbia, Canada.
Due to the success of her business, she was nominated as Business Woman
of the Year in South Surrey in 1996.
After attending one of Chicken Soup for the Soul author Mark Victor
Hansen's personal development seminars in 2004, van Ruyven was
encouraged to write her life story. Through her publishing company, she was
able to print and sell her book, which became a best-seller in
the Philippines. The success of her book made her an in-demand
motivational speaker in the Philippines, Singapore, Japan and Canada.
In 2009, Van Ruyven was diagnosed with ovarian cancer. Bouncing back
to health, Van Ruyven now plans to write a second book that will outline
simple and practical strategies for success. She currently resides in White
Rock, Surrey, British Columbia with her family.
3. Teodoro M. Kalaw, the so-called Father of Philippine Libraries, was born on

March 31, 1884 in Lipa, Batangas. Kalaw was one of the country's most
outstanding trilingual writers and historians who specialized in the collection
of original documents which became the basis of his writings. During his
teens, he collected revolutionary leaflets and newspapers and built a small
collection of papers centered on the revolution. Among those papers were
those of Apolinario Mabini and the record of the Andres Bonifacio trial.
Among his important works were La Revolucion Filipina (1924) and

Reformas en la Ensenanza Del Derecho (1907). His book Aide de Camp to
Freedom: An Autobiography on Philippine Independence won in the

Commonwealth Literary Contest in 1940. Historical writings from 1900s to

1940 were so dominated by him, prompting the Philippines' leading historian,
Teodoro Agoncillo, to consider that period as the "Age of Kalaw." He was the
youngest editor of El Renacimiento, an extreme nationalist paper, and
became an arch-critic of the American colonial regime as well as defender of
the national interest. He served as director of the National Library twice, the
first from 1916 to 1917 and the second from 1929 to 1931. He died on
December 5, 1940 at the age of 56.
4. Bienvenido L. Lumbera was born in Lipa City, Batangas on April 11, 1932.
He spent most of his youth in Batangas until he entered the University of
Santo Tomas in 1950 to pursue a degree in journalism. He completed his
M.A. and then his Ph.D. in Comparative Literature at Indiana University in
1967. Lumbera writes in English and Filipino, and has produced works in both
languages. He has a poetry collection entitled Likhang Dila, Likhang Diwa
(1993), and Balaybay: Mga Tulang Lunot at Manibalang, a collection of new
poems in Filipino and those from Likhang Dila. He has several critical works,
including Abot-Tanaw: Sulyap at Suri sa Nagbabagong Kultura at Lipunan
(1987) and Writing the Nation/Pag-akda ng Bansa (2000). He has also done
several librettos, among them Tales of the Manuvu (1977) and Rama Hari
(1980). Sa Sariling Bayan: Apat na Dulang May Musika (DLSU, 2003)
collects the four historical musicals Nasa Puso ang Amerika, Bayani, Noli Me
Tangere: The Musical, and Hibik at Himagsik Nina Victoria Laktaw.
Dr. Lumbera has been a recipient of numerous awards, including the

Ramon Magsaysay Award for Journalism, Literature and Creative
Communication Arts in 1993, the Gawad CCP, Gawad Pambansang Alagad
ni Balagtas, Manila Critics' Circle and the Palanca. He has also gained
Professor Emeritus status in the University of the Philippines. He also serves
in the Board of Advisers of the UP Institute of Creative Writing. This 2006, for
his creative and critical work directed towards a literature rooted in the search
for nationhood, Dr. Lumbera received the much-coveted title of National Artist
for Literature.

Enrichment Activity
1. Conduct a research on other CALABARZON writers and their contribution in the
field of literature. Discuss how the writers added glory to the development of
regional and national literature.
2. Discuss how the writings of Dr. Jose Rizal helped to liberate the country from the
oppression the Filipino people experienced during the Spanish regime?
3. Know more about the “The Tale of Juliet” written by Jhet van Ruyven. Make a
reflection paper focusing on the inspiration that the literary piece has given you.
LESSON 3
Development of 21st Century Literature in the Region
The significance and importance of literature in one’s nation and a race are
limitless and immeasurable. Literature is one aspect of our culture that may become a
foundation in the acquisition of values and positive traits of the people from the region.
Cultural upliftment likewise becomes one of the major thrusts of reading, studying and
analyzing literary texts. In this part, the students must be able to imbibe the values and
traits that make the province of Batangas and its literature unique. Moreover, this section
will help the students from the region to further appreciate the literary genres from
Calabarzon to make them feel proud as Batangueño and as part of the rich culture of
Region 4A.
Literary Genre Reflecting Unique Batangueno Traits
1. Folksongs
Folksongs are balanced rhyming lines dealing with subjects reflective of the
people’s way of life and community beliefs. These are usually chanted or accompanied
by music, so they become more appealing when residents use them in social gatherings,
merry-making, bayanihan projects, wedding, barrio fiesta and in other festivities.
Moreover, certain literary devices are employed by the parents and elders to transmit
their messages with more depth and effectiveness: rhythmic pattern in the use of
repetition and enumeration, parallelism, paradox, hyperbole, and personification.

Up to now, these folksongs are still common among small barrios but rare in the
city. But being standard bearers of essential values and virtues, they are still used in the
homes to suggest standard and wise rules of conduct necessary to man’s existence in a
society. They reveal dominant values of the society; hence, one could see a universal
pattern of struggle to survive through love and frustration, failure and success, and the
people’s expression of folk customs and beliefs as well as practices. Musicologists
identified Batangas as the origin of the kumintang, an ancient war song, (which showed
the acts of bravery of the people) which later evolved into kundiman which according to
Dr. Francisco Santiago, the Father of Filipino Musical Nationalism, “is the love song par
excellence of the Filipinos, the plaintive song which goes deepest into their hearts, song
which brings them untold emotions.” Endowed with such power, the kundiman naturally
came to serve as a vehicle for veiled patriotism in times of colonial oppression, in which
the undying love for a woman symbolized the love of country and desire for freedom.
Batangas is also the origin of the Balitao, which aside from being a form of vocal
music, is also a form of dance music. The Balitao, together with the Subli, is the most
famous form of dance native to Batangas. In the field of serious music, no one can
underestimate the contribution of Batangas. It is the birthplace of the famous Filipino
soprano Conching Rosal, dubbed as the First Lady of the Philippine operatic stage.
Lorenzo Ilustre, a local composer, also became famous for his wide array of religious
and liturgical music. Maestro of Philippine music Ryan Cayabyab is also a Batangueno,
whose mother Celerina Pujante was a sought-after operatic soprano in the 1950’s, about
the same time as Rosal. Ogie Alcasid, known to fans as Mr. Composer, also hails from
this province.
The Batangueña is the subject of numerous traditional songs from

Batangas. Perhaps the most famous of all is the Prinsesa ng Kumintang, which tells
about the pursuit of a very beautiful woman. In the song, the woman is adored
as one who is as beautiful as the rose and whose love is pure. The song simply says
that should a man want to find happiness, he would simply have to choose a
Batangueña for a wife. This is because she is always dainty and would always be with
the partner no matter how hard life becomes. This shows the Batangueña perseverance
and courage to face the challenges in life as exemplified by the form of government
called gynecocracy believed to be prevalent in Batangas during the
ancient times. Women had equal rights to succession should there be no male to lead
the clan. This practice is clearly seen until now, wherein strong family clans tend to be
more matriarchal in character. In fact, today, the wife of the town or city mayor is called
“mayora” who is equally competent and courageous as her male counterparts.

2. Religious Songs
These songs are sung during the last prayers in the Flores de Mayo, praying of
the holy rosary and offering flowers while singing. Arriola (1990) claimed in her study
that writers of luwa (religious songs) needed to be poets because he must be
passionately equipped with verses and rhythm coupled with rhyme and meter to make it
more interesting and appealing. Before, recitation of luwa is solely devoted only for
Blessed Virgin Mary, the popularly known model for devotees. However, as years pass
by and because there was no such rule which hinders, this practice is also done in honor
of different saints.
Like in the province of Batangas, luwa has been a practice in Taal, Lipa, Lemery
and Balayan. The luwa – also spelled lua – is a traditional poetry or declamation
performed by young lads and maidens in honor of the Virgin Mary or a patron saint. This
centuries-old art form is still practiced in towns during fiestas across Batangas
province. A small makeshift stage was parked in front the town church next to carrozas
(religious carriages) carrying images of the patron saint. They were decorated with white
flowers and lit up with globular lamps.
Four young maidens dressed in gowns took turns performing luwa, while their
personal coaches dictated the verses behind them through a fabric partition. The girls
recited the poetic verses emphatically, gesturing with their arms, often towards the
statues of San Juan. After each performance, the maiden would take a basket of rose
petals and throw them in the air. After all four had their turns on stage, firecrackers were
lit in church grounds and fireworks were sent up to light up the evening sky, prompting
the start of the holy procession around town. It was a beautiful experience that evoked
the colonial times.
3. Town Hymns
The concept of love of country is reflected in certain lines of several town hymns.
In the town hymn of Lipa, selflessness is being promised by a Lipeño, if only he can
show how he can protect his hometown from intruders. He learns to be unselfish and
give his earnest effort just to make sure that his city will still have its dignity. Lemery’s
town hymn likewise reflects love of country which means also courage and bravery in
the face of invaders; this can also be concretized into nationalism if the need arises. This
is clearly manifested by the heroic acts of Batangas national heroes and statemen,
namely, Laurel, Mabini, Malvar, Recto, etc

4. Poetry
Batangas folk literature is rich also in poetry. Luwa and riddles still abound the
province and survive many generations. From this oral literature were some truths about
life and wisdom of the people. The following traits proved to be internalized and
influenced the Batangueños:
Religiosity (Strong Faith in God) is one of the sterling qualities of Batangueños,

so it is believed that the reason why everytime there are natural calamities, Batangas is
spared from great disaster. Batangueños, just like those from nearby towns,
municipalities and provinces in Region 4A are very
religious people. Proofs of this are the numerous churches and parishes filled with
worshippers in every local barangay and towns in the province. They believe that God is
the creator of all things and the provider of all graces. Therefore, man should honor,
thank and love God. Whatever is God’s creation should be taken care of, whether it is a
fellow being, a plant or an animal. Batangueños believe that mysteries of God can
happen everywhere. They respect places of worship, things and persons which relate
to God’s divinity. As proof of their contention, the believers from Taysan, Taal, Lipa and
Lemery have “luwa” reflecting their values such as reverence to gifts of nature and
sacred places, obedience to God and positive attitude towards life.
The Batangueños also believe that to show love and respect for the guidance
given by the patron saints, it is proper to offer poems affirming faith in his belief in God.
The value of worship and adoration to God for unparalleled assistance is very evident.
To inculcate religious beliefs and values among children, the residents of Mabini, Taal,
and Lemery practice the use of “luwa” (religious songs). The poet expresses humble
words of giving praises thus showing faith in God, thankfulness for
being born, pleas for continued blessings, worship, and adoration. Devotion to God and
the Blessed Virgin Mary is the refuge of the family in times of difficulty and the
lightness of heart after prayers are felt. Catholics in Batangas have learned since
childhood the value of reverence to gifts of nature and sacred places shall be practiced.
Positive attitude towards life is a value reflected from this type of literature.
Batangueños take a positive way of looking at misfortunes. They take them as

God’s way to test their faith in Him. Whenever confronted with serious problems, the
Batangueños turn to God for assistance. They find alleviation from their sufferings
in prayers. Constant communication with God and intensive talk with him
through prayers can encourage a man to rise above all adversaries. The morals of the
Luwa inspires people to be more optimistic towards life. When one is in great distress
due to incessant life problems, his relatives and friends will encourage him to see

life’s beauty and to keep on going because of God, who loves him dearly and that
the Lord is just giving him tests. It is hoped that through this advice, this person will
become firmer and stronger in defying life’s difficulties.
5. Proverbs
Proverbs are wise sayings or serious statements derived from common daily
experience and are centered from common daily experiences and on the people’s value
and belief system. People cast them as verses ranging
from four to fourteen syllables. They are composed of maxims expressive of the people’s
customs and traditions. Since proverbs explain the righteous and honorable way of life,
Batangueños employ them to strengthen their training of the young and to develop them
into upright and dignified members of the society.
In marriage and courtship, honor and faithfulness is the essence of a

Batangueña. A proverb implied that before courting a lady, a man is advised to check
on the character, traits, personality and family background of his lady.
A proverb which tells that “marriage cannot be like rice which when taken into the mouth
can be spitted out”, warns the young people that married life is not so easy. They should
discreetly choose their lifetime partner for marital discord cannot be solved by
separation. Regret is always at the end but as decreed by God, the husband and wife
would stay together till death. Marriage is God’s gift; therefore, it should be strengthened
through years and years. As a moral responsibility, parents should train their children to
love and serve God by loving and serving their neighbors. They should know God fully
well as their duties to mankind. They should, therefore, impart such knowledge to their
children so that they will lead a life according to the highest code of morality. The
foremost responsibility of the Batangueño parents is to educate their children
at home. Though formal training is limited, they can teach their children to be morally
upright individuals of the society by their proverbs. These proverbs warn also the parents
to be righteous in the rearing of their children for the children’s manner reflects the kind
of breeding they have been exposed to at home. The community residents do not
neglect their duties. Lessons such as respect for elders, obedience and love for parents
and good social relations are taught mainly by examples. Children are made responsible
and committed to loving and servicing their fellowmen. The interrelationship among
family members is part of the mores of the people showing that their values are socially
traditional. Batangueños as symbols of a close-knit society are taught how to love,
appreciate and respect their parents and elders through the
informal teaching of values reflected from their proverbs. Close family ties is learned
as all family members are also expected to be around in case of emergency or in times
of death or sickness of a relative. There is mutual protection among family members

during trouble and distress, hence, they become very close to each other.
Loyalty and good human relations govern the social relationships of the residents. In
Batangas, some proverbs mean that true friendship is valued most in the province. They
consider a person a true friend if he can be depended upon in times of need, scarcity,
poverty, despair, sorrow, sickness or death. A true friend even risks his life for the sake
of his dear friends. True friendship does not exist only in times of joy and success but
also during sorrow and frustration. Batangueños are always reminded by their parents
and elders of true friendship during trivial conversation when they discuss about human
relations. What are the important in friendship are the love, concern, and sacrifice for
each other not only during good times but also in bad times. In
the present times, true friendship really matters to Batangueños, for if they found
disloyalty in the midst, they try to break even with the traitors by teaching them lessons
they will not forget. Economic security is shown by a popular adage among
the Batangueños which tells of being thrifty. This means that saving for the future is
important. At an early age, children are taught to value money, to spend money wisely
and to save for the future. However, this does not mean that they will ignore fellows who
will be asking for their help. As moral and social responsibility calls, one is obliged to
strive for economic security and sufficiency. Endurance and industry are among the
most notable qualities of the Batangueños. Children are trained by parents to be
industrious and to endure the hardship where proverbs telling of promptness
and endurance, hard work and industry are emphasized. As a result, poverty is not really
felt by the people as compared to other areas.
It is accepted by the inhabitants that everybody’s daily activities are guided by

the Supreme Being. As the proverb says, “Nasa Diyos ang awa, nasa tao ang gawa.”
But they know also that if they do not work, they will not receive tangible things to suffice
their basic needs. If a person feels desperate to severe hardship in life, the
proverbs pacify and inspire him to continue living and defy the adversaries of life.
Finally, hope develops within him, and the zest for living keeps burning.
6. Folktales
Tales are the oldest form of literature handed down over thousands of years by
word of mouth. Tales explain the ancient people’s origin, culture, their beliefs, and
tradition. The common folktales are imbued with morals, religion, and values to live by. A
study about Batangas folktales by Ilagan (1996) revealed that 34 folktales were
classified into18 fairytales, 10 legends, and 6 myths. The predominating themes drawn
from the popular folktales are curses, fear, fantasy, friendliness, and hatred.
Enchantment, faith, and perseverance are depicted in the myths while nationality,
brotherhood, love, and respect prevail in the legends. Among the customs, beliefs and

practices reflected in the folktales that have been identified

are belief in God, in the supernatural creatures, in the anting-anting, folk Catholicism,
practice of magic, maytime festival, harana, marriage customs, burial, hiya or sense of
shame, pakikisama or sense of togetherness, debt of gratitude, respect for elders, close
family ties and hospitality.
In an excerpt from the myth “Holy Cross of Bauan” (Menez et. al., 2001), Faith in
God in essence pointed out that a person must firmly believe that God can be of help in
times of need. This may come in the form of miracles which in turn gives hope and
converts a person towards a more optimistic outlook in life. In the miracle of Holy
Mediatrix of all Graces (Andal, 2003), the values of love, simplicity, and humility are
exemplified and emphasized by the Most Holy Virgin Mary to the people. The story
of apparition of the Virgin Mary strengthens the people’s belief in the divine intervention.
Community residents become more religious and spiritual and more generous to people
to demonstrate their love for God and fellowmen
Sample Literary Genres from Batangas
A. Folksong
PRINSESA NG KUMINTANG
Kay ganda mo hirang
Prinsesa ng Kumintang
Sa alaala ko
Ay di ka mapaparam
Sa kalungkutan ko
Tanglaw ka ng aking buhay
Ang iyong pagsinta
Langit ko, Prinsesa ng Kumintang
Sa kalungkutan ko
Tanglaw ka ng aking buhay
Ang iyong pagsinta
Langit ko, Prinsesa ng Kumintang

Enrichment Activity
1. Make a research on the melody of the folksong “Prinsesa ng Kumintang.” With
group mates to form a choir, sing the folksong before the class.
2. Using the map of Batangas province, locate where Kumintang is. Find out and
discuss how the folksong contributed to the richness of the culture of the people
of Kumintang.
B. Kundiman
Bituing Marikit
By: Conching Rosal
Bituing marikit sa gabi ng buhay

Ang bawat kislap mo'y ligaya ang taglay
Yaring aking palad iyong patnubayan
At kahit na sinag, ako'y bahaginan
Natanim sa puso ko yaong isang pag-ibig

Na pinakasasamba sa loob ng dibdib
Sa iyong luningning, laging nasasabik
Ikaw ang pangarap, Bituing marikit
Lapitan mo ako, halina Bituin!
At ating pag-isahin ang mga damdamin
Ang sabik kong diwa'y huwag mong uhawin
Sa batis na iyong wagas na paggiliw
Enrichment Activity
1. Make a music video for the kundiman “Bituing Marikit.” Exemplify the character
traits of a typical lady coming from the Calabarzon region in your music video.
2. Show the output in the class and let interaction and discussion about the different
videos of different groups are presented.

C. Poetry
BARONG TAGALOG: Carrying the Style and Wearing a True Legacy
Strands of satiny pineapple fibers

From the superbly prickly pieces of leaves
Refined by the nifty naked hands
Of the great sophisticated artisans
Beyond this unequaled plant
Is a peculiar product exist
Only native Filipinos - Tagalogs can procreate
An art of aesthetic craftsmen
The fabric of my historical breed
Versatile apparel suits for formal affairs - weddings
From 20 meters of silk processed and produced - four months
Nation known as PEARL OF THE ORIENT
Exaltedly introduces this "BARONG TAGALOG"
Through cordial hardworks and artistic thinkings
A lifetime masterpiece dominates the Philippine Art
A cloth woven by faith and ornamented by passion
A cloth designed by heart and given birth through life
A cloth perfected by artistry and embroidered by fidelity
For native Batangueños, this is their breath
Respiring together as they brocade their future
Future that depends on THE PHILIPPINE NATIONAL CLOTH - BARONG TAGALOG.
Enrichment Activity
1. Perform a choral recitation of the poem.
2. Discuss the character traits of Batangueños depicted in the poem. What figures
of speech were used to describe those traits?

D. Proverbs
Filipino proverbs, or salawikain, echo the values of the Philippines. Though they
have been retold and passed down from one generation to another, and the values and
lessons they impart to us still hold true to this day. Following are some of the examples
of proverbs that most Batangueños and other people from Region 4A are using as guide
in their everyday living:
1. If you persevere, you will reap the fruits of your labor.

“Pag may tiyaga, may nilaga.”
2. If you plant, you harvest.
“Kung may tinanim, may aanihin.”
3. Even though the procession is long, it will still end up in church.
“Pagkahaba-haba man daw ng prusisyon, sa simbahan din ang tuloy.”
4. There is no need to cry over spilt milk.
“Magsisi ka man at huli wala nang mangyayari.”
5. What comes from bubbles will disappear in bubbles.
“Ang kita sa bula, sa bula rin mawawala.”
6. Don't count chicks until the eggs are hatched.
“Huwag magbilang ng sisiw hanggang di pa napipisa ang itlog.”
7. If a stone thrown upward hits you, don't take offense.
“Batu-bato sa langit, tamaan huwag magagalit”.
8. A thief hates a fellow thief.
“Ang magnanakaw ay galit sa kapwa magnanakaw”
9. A person who does not remember where he came from will never reach his
destination.
“Ang hindi lumingon sa pinanggalingan, hindi makakarating sa paroroonan.”

10. Life is like a wheel: Sometimes you're up, and sometimes you're down.
“Ang buhay ay parang gulong, minsang nasa ibabaw, minsang nasa ilalim.”
11. A quitter never wins; a winner never quits.
“Ang umaayaw ay di nagwawagi, ang nagwawagi ay di umaayaw.”
12. No pain, no gain.
“Walang tiyaga, walang nilaga
13. Even a log soaked in water will burn if it is placed near a fire.
“Kahoy mang babad sa tubig, kapag nadarang sa apoy sapilitang magdirikit.”
14. Better late than never.
“Huli man daw at magaling, naihahabol din.”
15. Spend lavishly and you end up with nothing.
“Ubos-ubos biyaya, pagkatapos nakatunganga.”
Enrichment Activity
1. Choose one from among the proverbs listed. Explain and interpret the meaning
of the proverb. Discuss how the proverb could become your guide in your life as
an individual.
2. Research for more proverbs that could be used as a standard to become better
individuals

E. Folktales
THE LEGENDS OF THE TAGALOGS
In a certain wide region of Luzon, there was a village frequented by young men.
This town was full of trees, beautiful flowers and a river where clear waters flowed. What
attracted the young men more than the scenery was a beautiful nymph-like maiden.
The maiden was Maria and she had lots of suitors who came from afar and who
fought for her hand. But Maria remained undaunted so Maria thought of a plan. She
called all the young men together and told them,
“You are all good and kind and it is difficult for me to choose one among you. Let
me decide with a test.”
“I’ll marry the first man who can bring me a big, live, and strong serpent, “Maria
said in jest. The young men were dumfounded. After a while, the voice of Ilog broke the
silence.
“I promise to bring you one, Maria. Even if I have to risk my life, I’ll bring you what
you wish.”
Ilog was a man known for his bravery. He left immediately to fulfill his promise.
The man whispered among themselves. They were sure that Ilog would never be able to
return. They waited for a long while but Ilog had not returned. Even Maria was saddened
because she also grieved the loss of a man as brave and accommodating as Ilog. After
many hours, Ilog returned. They crowded to see how Ilog would prove his bravery. Ilog
held a big snake by its nape and tail. While the men were occupied, two Spaniards
passed by. Their attention was caught not by what Ilog held but by the beauty of Maria.
“Maria”, heroically called Ilog. “I’ve brought you the serpent you wished for. What
else do you want me to do to make you happy?” “Cut it up!” shouted Maria.
. The Spaniards were startled. They asked the people around where they were
and in what place they were in but nobody paid attention for their attention were focused
on the snake and on Maria. When Maria saw the snake was still struggling, she shouted
“Taga, Ilog! Taga Ilog.” (Cut Ilog! Cut Ilog) which she addresses to Ilog so he
would cut the snake up again. The two Spaniards, thinking that this was in answer to
their question repeated the words TAGILOG, TAGAILOG which later became TAGALOG.

ALAMAT ng BATANGAS
Ayon kay Emilio Martinez Antonio
Matagal nang panahon ang nakalilipas, nang ang isang pangkat ng mga
Kastila ay maglibot sa isa sa mga lalawigan sa may timog sa Gitnang Luzon. Nang mga
panahong iyon ay wala pang mga sasakyang kagaya ng awto, trak o diyep na tulad
ngayon, kaya ang nagsisipaglibot na pangkat ng mga Kastilang iyon ay nagsisipaglakad
lamang.
Nakarating sila sa mga pook na naggugubat sa sari-saring halaman at sa

kapatagang tinutubuan ng iba’t-ibang punongkahoy. Doon sila nakakita ng mga puno ng
kape, kakaw, abokado, suba, dalandan, dayap at kalamansi. Tangi sa kagandahan ng
kalikasang iyan, ang mga Kastilang iyon ay nakarating pa rin sa isang malinaw na batis
na may kaaya-ayang agos ng tubig. Kaya’t libang na libang sila sa magagandang
tanawin na kanilang namamasdan hanggang sa makarating sila sa isang pook na
napakadalang puntahan sa dahilang ilan lamang ang mga bahay.
Sa kababaan ng paglalakbay, ang pulutong na mga Kastilang yaon ay inabot ng

matinding gutom. Sa gayon ay nagpatuloy pa sila sa paglalakad, sapagka’t hangad
nilang makasumpong ng taong mahihingian nila ng kahit kaunting pagkain.
Hindi naman natagalan at sa kakalakad nila ay nakarating sila sa isang pook na

may ilang taong gumagawa ng batalan ng isang bahay. Hindi nalalaman ng mga Kastila
na ang nagsisigawa ng nasabing batalan ay pawang bataris lamang, na ang ibig sabihin
ay walang upa ang nagsisigawang mga anluwagi. Iyan ay isang kaugalian ng mga
Pilipino sa diwa ng kusang pagtutulungan, na maipagmamalaki sa Dulong Silangan.
Ang mga Kastila ay lumapit sa mga taong iyon, na sa palagay nila ay mababait at
mapitagan. Hindi kaming nag-atubili nang aming palagay, sapagka’t nang mapansin ng
mga iyon na sila ay pagod at gutom ay binigyan sila ng pagkain. Gayon na lamang ang
kanilang pasasalamat at habang sila’y nagkakainan ay sila-sila na rin ang nag-uusap
tungkol sa kagandahang loob ng mga Pilipino.
Nang ang mga Kastila ay makakain, bago umalis at nagpaalam at magalang na

nagtanong ang pinakapuno nila sa mga tao, “Como, se llama esta provincial?”
Bagama’t ang itinatanong ng punong Kastila na Kung ano ang pangalan
ng lalawigang iyon, sa dahilang ang tanong ay binigkas sa wikang kastila, ay hindi siya
naunawaan ng mga tao. Ang akala naman ng punong anluwagi ang itinatanong niyon ay

kung ano ang kanilang ginagawa, kaya siya ang nangahas na sumagot: “Batalan,
senyor.”
Batalan?– ulit na tanong ng pinunong Kastila.

Sabay-sabay na tumango ang kaharap na mga tao kaya’t ang akala ng
pinuno ay iyon na ang ngalan ng lalawigan. Hanggang sa umalis ay inusal-usal ang
salitang BATALAN.
Nang dumating sila sa kanilang kuwartel, dahil sa kalituhan sa kauusal sa salitang

“batalan” ang naibigay tuloy sa kanilang pinakamataas na puno ay ang katagang
BATANGAN. At mula nga noon iyon na ang naging pangalan ng nasabing lalawigan, na
kaya lamang napalitan ng BANTANGGAS ay sa dahilan sa ating salitang BATANGAN
ay hindi mabigkas na mabuti ng mga Kastila.
Enrichment Activity
1. How may the presented folktale above enrich the culture of the people from the
CALABARZON region?
2. What is the importance of handling down stories like this to the next generation?

LESSON 4
Literary Pieces from CALABARZON
The following are the literary pieces and genres written by canonical authors from
Region 4A. These are products of the rich culture, traditions, traits and heritage of the
writers from the region noteworthy of analysis and appreciation.
A. Short Story
ANG SARANGGOLA
By: Efren Abueg
Rading, Paquito, Nelson… pakinggan ninyo ang kwentong ito. May isang lalaki,
walong taong gulang. Humiling siya sa kanyang ama ng isang guryon.
“Anak, ibibili kita ng kawayan at papel. Gumawa ka na lamang ng saranggola,” wika ng

ama. “Hindi ako marunong, Tatay,” anang batang lalaki.
“Madali ‘yan. Tuturuan kita,” sabi ng ama at tinapik sa balikat ang anak.
Bumili nga ito ng papel at kawayan at tinuruang gumawa ng saranggola ang anak.
“Tatay… ibili mo ako ng guryon,” sabi uli ng bata sa ama.

“Anak, pag-aralan mo na lamang mapalipad ang saranggola nang mataas. Madadaig
mo ang taas at tagal ng lipad ng guryon!” Nainis ang bata sa kanyang ama.
“Kinakantyawan ako sa bukid, Tatay,” anang bata. “Anak daw ako ng may-ari ng
kaisa-isang istasyon ng gasolina sa bayan… bakit daw kay liit ng saranggola ko!”
Natawa ang ama at tinapik na naman sa balikat ang anak.
Tinuruan nga ng ama ang bata nang higit na mataas na pagpapalipad ng

saranggola, pati na ang pagpapatagal niyon sa kalawakan. Nalagpasan nga ng
saranggola niya ang ilang guryon. Ang iba namang guryon na lumipad nang pagkataas-
taas ay nalagutan ng tali at nagsibagsak, bali-bali ang mga tadyang, wasak-wasak.
Minsan sa pagpapataas ng lipad ng kanyang saranggola, napatid ang tali niyon.

Umalagwa ang saranggola. Hinabol nilang mag-ama iyon at nakita nilang nakasampid
sa isang balag.

“Tingnan mo…hindi nasira,” nagmamalaking wika ng ama. “Kung guryon ‘yan,

nawasak na dahil sa laki. Kaya tandaan mo, ang taas at tagal ng pagpapalipad ng
saranggola ay nasa husay, ingat at tiyaga. Ang malaki ay madali ngang tumaas, pero
kapag nasa itaas na, mahirap patagalin doon at kung bumagsak, laging nawawasak.”
Nakalimutan na ng batang iyon ang tungkol sa saranggola nang maging katorse

anyos siya. May iba na siyang hilig; damit, sapatos, malaking baon sa eskwela,
pagsama-sama sa mga kaibigan.
“Anak…dalawang sapatos lamang ang gagamitin mo sa pasukang ito. Kung

masira, saka na papalitan. Magtitipid ka rin sa damit at huwag kang gasta nang gasta.
Hindi madaling kitain ang salapi,” pagunita ng kanyang ama.
“Kawawa nga ako, Tatay,” katwiran ng bata. “Anak ako ng tanging may-ari ng
istasyon ng gasoline at machine shop sa bayan natin, pero ang itsura ko… parang anak
ng pobre.”
“Disente ka naman, Malinis ang damit mo, husto ka sa mga gamit sa eskwela at
husto ka rin sa pagkain. Hindi dapat sobra sa mga pangangailangan ang isang
kabataang tulad mo. Hindi natututuhan ang pagtitipid.”
Hindi naunawaan ng bata ang paliwanag ng ama at nagkaroon siya ng hinanakit

dito. Tinipid siya sa lahat ng bagay, hinigpitan sa pagsama-sama sa mga kabarkada at
madalas, pinatatao sa istasyon ng gasolina at pinatutulong sa machine shop kung araw
na walang klase.
“Pinahihirapan talaga ako ng Tatay,” puno ng hinanakit ang tinig na

pagsusumbong ng bata sa ina. “Kaisa-isa pa naman akong anak, ang turing niya sa
akin… parang ampon!”
“Hindi totoo ang sinabi mo, anak,” malumanay na sansala ng kanyang ina sa
paghihinanakit niya sa ama. Alam mo mataas ang pangarap niya para sa iyo.”
“Bakit? Ano ang gusto niya para sa akin?”
“Ibig niyang maging mahusay kang inhinyero.”
Hindi na kumibo ang bata at hindi rin napawi ang hinanakit niya sa ama.
Gayunman, hindi siya makapaghimagsik dito. Iginagalang niya ito at pati ang kanyang
ina.

Nang labingwalo na siya napagkaisahan ng kanyang mga barkada na kumuha

sila ng commerce.
“Mabuti ‘yon. Magsama-sama tayo sa isang unibersidad,” mungkahi ng isa sa

limang magkakaibigan.
Pumayag siya. Ngunit nang kausapin niya ang ama, tumutol ito.
“Inoobserbahan kita, anak. Hindi mo hilig ang commerce. Palagay ko

mechanical engineering ang bagay sa iyo. Tanungin mo ang iyong ina.”
Masama man ang loob, sumangguni pa rin siya sa ina.
“Hindi sa kinakampihan ko ang iyong ama, anak. Pero sa tingin ko….engineering

nga ang bagay sa iyo. May machine shop tayo…sino ba ang magmamana niyon kundi
ikaw?”
Nasunod ang kanyang ama at napilitan siyang tumiwalag sa kanyang barkada.

Napag-isa siya sa pag-aaral sa lunsod at ngayong binata na siya, hindi na hinanakit
kundi paghihimagsik sa ama ang kanyang nadarama.
“Ayoko nang mag-aral, Inay,” sabi niya sa kanyang ina nang dalawin siya nito sa
dormitoryo. “Tipid, pagtitiis, kahihiyan lamang ang dinaranas ko rito. Bakit ako
ginaganoon ni Itay? Gusto ba niya akong pahirapan?”
Pinayapa ng kanyang ina ang kanyang kalooban.
“Magtiwala ka sa amin, anak. Wala kaming gagawin ng iyong ama kundi

makabubuti sa iyong hinaharap.”
“Makabubuti ba sa akin ang magmukhang basahan at magdildil ng asin?”
“Makabubuting matuto kang magtiis. Pagkatapos mo naman ng pag-aaral at

magtagumpay ka sa hanapbuhay, magiging magaan sa iyo ang lahat.”
“Bakit kailangan ko pang magtagumpay? Hindi ba’t ipamamana ninyo sa akin ni

Itay ang ating kabuhayan?”
“Totoo iyan, anak…pero paano mo mapauunlad ang ating kabuhayan kung hindi
mo alam ang mga hirap sa pagtatayo niyan?”

Hindi maintindihan ng binata ang sinabi ng kanyang ina, subalit naisip niyang
makapagtitiis pa siya. Isinubsob na lamang niya ang ulo sa pag-aaral.
Nakatapos naman ng inhinyeryo ang binata. Hindi siya pangunahin sa klase,

ngunit sa pagsusulit sa gobyerno, nakabilang siya sa nangungunang unang dalawampu.
“Ngayon anak…bibigyan kita ng limampung libong piso. Gamitin mo sa

paghahanapbuhay,” sabi ng kanyang ama nang makuha na niya ang lisensiya bilang
mechanical engineer.
Namangha siya.
“Akala ko…ako na ang hahawak ng ating machine shop pagkatapos ko ng pag-

aaral,” nawika niya sa ama.
“Bata pa ako, anak. Kaya ko pang mag-asikaso ng hanapbuhay na iyan. Saka

ibig ko, magpundar ka ng sariling negosyo.”
“Bakit pa, Itay? Mayroon na tayong negosyo.”
“Mabuti na ‘yong makatindig ka sa sarili mong mga paa.”
Tinanggap niya ang halagang ipinagkaloob ng ama. Humiwalay na rin siya ng

tirahan sa mga magulang.
“Alam kong malaki ang hinanakit mo sa iyong ama. Gayunman, ibig kong isaisip
mong, ang kinabukasan mo ang lagi niyang inaalala.”
Ngunit may lason na sa kanyang isip. Hindi na siya naniniwala sa sinabi ng

kanyang ina. Naging lubos ang paghihimagsik niya sa kanyang ama.
Nagtayo siya ng isang machine shop sa dulo ng kanilang bayan. Agad-agad

siyang pinagsadya ng kanyang ama.
“Bakit hindi pa sa ikatlong bayan ka nagtayo ng machine shop?

Magkukumpetensiya pa tayo rito.”
“Akala ko ba’y bahala na ako sa buhay ko, Itay?”
Natigilan ang kanyang ama. Saka napapailing, nag-iwan pa ito ng salita bago
lumisan.

“Kung sa bagay…mabuting magturo ang karanasan!”
May isang taon ding nagtiyaga ang binata sa pamamahala ng kanyang maliit na
machine shop sa dulong bayan. Kakaunti ang kanyang parokyano dahil higit na malaki
ang machine shop ng kanyang ama at mahusay ang mga tauhan nito. Nagkautang tuloy
siya ng labindalawang libo sa mga kinukunan niya ng materyales. Nang hindi siya
makabayad, inilit ang mga makinang kanyang ginagamit.
“Nabigyan na kita ng pang-umpisang puhunan. Hindi ka sumunod sa mungkahi

ko na umiwas sa kumpetisyon. Subukin mo namang maghanap ng puhunan sa sarili
mong pagsisikap.”
Noon nagsiklab ang binata. Nakalimutan niya ang paggalang sa mga magulang.
Dumabog siya sa harap ng ama.
“Ano kayong klaseng ama? Bakit ninyo natitiis ang inyong anak? Kasiyahan ba
ninyong makitang nahihirapan ako?”
“Ibig kong matutuhan mo ang lahat ng nangyayari sa buhay na ito. Hindi madali
ang mabuhay sa mundo, anak.”
“Hindi ba kaya may mga magulang ay para gumaan ang buhay ng mga anak?”
“Ang ikagagaan ng buhay ng mga anak ay wala sa mga magulang kundi nasa
mga itinuturo nila sa mga ito.”
Nagkahiwalay ng landas ang mag-ama. Naglayas ang binata nang hindi man
lamang nagpaalam kahit sa ina. Nagpalipat-lipat sa kung saan-saang trabaho hanggang
pagkaraan ng limang taon, nakaipon siya ng sampung libong piso at nakabili ng maliit na
machine shop. Kumuntrata siya ng paggawa ng tambutso sa isang auto assembler at
kumita siya nang malaki. Sa loob ng tatlong taon, gumawa na rin ang machine shop niya
ng mga partes ng kotse.
Ang dugo ay dugo, anang kasabihan, kaya dinadalaw ang lalaki ng kanyang may
edad nang ina. Isang araw, dumating ito sa kanilang bahay, gaya ng dati may
pasalubong sa tatlong apong lalaki.
“Ibig ng Itay mong makita ang kanyang mga apo, pero hindi siya makadalaw
dahil sa hinanakit mo,” sabi ng kanyang ina.
“Kinalimutan ko na, Inay, na nagkaroon ako ng ama!” Umiyak ang kanyang ina.

“Kung gayon… baka hindi na kayo magkita, anak!” na wika nito bago umalis.
Sa tindi ng hinanakit, hindi pa rin niya binigyang-halaga ang bulalas na iyon ng

kanyang ina. Nagpakagumon siya sa trabaho, naghanap pa ng mga bagong kontrata
hanggang sa loob pa ng dalawang taon, kilala na ang kanyang machine shop sa Pasay.
Isang araw, hindi niya dinatnan ang kanyang asawa at tatlong anak sa bahay.
“Nasaan sila?” usig niya sa katulong.
“Umuwi ho uli sa probinsya. Patawirin daw ho ang inyong ama!”
“Umuwi uli? Bakit lagi ba sila roon?” Tumango ang tinanong na katulong.
“May dalawang ulit na hong regular silang nagpupunta roon. Dinadalaw ang
inyong matandang ama.”
May poot na sumiklab sa kanyang dibdib. Nanlambot siya sa galit. Ngunit sa

pagkaunawang patawirin ang kanyang ama, nagbalik sa kanyang isip ang masasayang
sandali sa piling nito. Nagunita niya ang pagpapalipad nila ng saranggola.
“Wala sa laki ng saranggola ang pagpapalipad at pagpapatagal niyon sa itaas,

nasa husay, tiyaga at ingat iyan!”
Magdamag siyang hindi mapalagay. Lagi niyang naiisip ang sinabing iyon ng
kanyang ama. Kinabukasan, sakay ng kanyang kotse, nagbalik siya sa bayang
sinilangan.
“Patay na siya!” bulalas ng kanyang asawang umiyak sa kanyang dibdib.
May nabugnos na moog sa kanyang puso. Nahalinhan ng pagsisisi ang

hinanakit. Nilapitan niya ang ina at sa pagkakayakap dito, umiyak siya nang marahan,
kasamang nagdadalamhati ang lahat ng himaymay ng kanyang laman.
“Huwag kang umiyak… namatay siyang walang hinanakit sa iyo.” Anas ng

kanyang ina. “Wa-walang hinanakit?”
“Oo, anak… dahil natupad na ang pangarap niya. Nasa itaas ka na. At sabi niya
sa akin, pati sa asawa mo… nakatitiyak siya na makapananatili ka roon.”
Nang lapitan niya ang kabaong ng ama at tunghayan ang mga labi nito, parang
lumundag ang kanyang puso at humalik sa pisngi ng yumao. Kasunod niyon, nagunita
na naman niya ang pagpapalipad nila ng saranggola.

“Wala sa laki ng saranggola ang pagpapalipad at pagpapatagal niyon sa itaas.

Hayaan mo… tuturuan kita!” paliwanag na ama.
Rading, Paquito, Nelson…tandaan ninyo ang kwentong iyan. Kwento ‘yan

namin ng inyong namatay na lolo. Kwento naming dalawa.
Enrichment Activity
1. What characteristics/ traits of the people from Region 4A were depicted and
exemplified in the short story?
2. How may the short story help the young people to excel in their chosen field
based on the lesson of the story?
3. Make a research and read another short story entitled “Dead Stars” by Paz
Marquez-Benitez. Stage a role-play based on the plot of the short story.
B. Essay
PLIANT LIKE A BAMBOO
By: I. V. Mallari
There is a story in Philippine folklore about a mango tree and a bamboo tree. Not
being able to agree as to which was stronger of the two, they called upon the wind to
make the decision.
The winds blew its hardest. The mango tree stood fast. It would not yield. It knew
it was strong and sturdy. It would not sway. It was too proud. It was too sure of itself. But
finally, its roots gave way, and it tumbled down.
The bamboo tree was wiser. It knew it was not as robust as the mango tree. And so
every time the wind blew, it bent its head gracefully. It made loud protests, but it let the
winds have its way. When finally the wind got tired of blowing, the bamboo tree still
stood in all its beauty and grace.
The Filipino is like the bamboo. He knows that he is not strong enough to
withstand the onslaughts of superior forces. And so, he yields. He bends his head
gracefully with many loud protests.

And he has survived. The Spaniards came and dominated him for more than
three hundred years. And when the Spaniards left, the Filipinos still stood only much
richer in experience and culture.
The Americans took the place of the Spaniards. They used more subtle means of
winning over the Filipinos who embraced the American way of life more readily than the
Spaniards' vague promise of the hereafter.
Then the Japanese came like a storm, like a plague of locusts, like a pestilence
rude, relentless and cruel. The Filipino learned to bow his head low to "cooperate” with
the Japanese in their "holy mission of establishing the Co-Prosperity Sphere.” The
Filipino had only hate and contempt for the Japanese, but he learned to smile sweetly at
them and to thank them graciously for their "benevolence and magnanimity."
And now that the Americans have come back and driven away the Japanese, Filipino
have been loudest in their protestations of innocence. Everything is as if Japanese had
never been in the Philippines.
For the Filipino they welcome any kind of life that the gods offer him. That is why
he is contented, happy and at peace. The sad plight of other peoples of the world is not
his. To him, as to that ancient Oriental poet, "The past is already a dream and tomorrow
is only a vision but today, well-lived makes every yesterday a dream of happiness and
every tomorrow, a vision of hope." In like manner, the Filipino regards the vicissitudes of
fortune as the bamboo tree regards the angry blasts of the blustering wind.
The Filipino is eminently suited to his romantic role. He is slender and wiry; He is nimble
and graceful in his movements. His voice is soft, and he has the gift of languages. In
what other place in the world can you find people who can carry on a fluent conversation
in at least three languages?
This gift is another means by which the Filipino has managed to survive. There is
no insurmountable barrier between him and any of the people who have come to live
with him – Spanish, Americans, and Japanese. The Foreigners do not have to learn his
language. He easily manages to master theirs.

Verily, the Filipino is like the bamboo tree. In its grace, in its ability to adjust itself
to the peculiar and inexplicable whims to fate, the bamboo tree is his expressive and
symbolic national tree. It will have to be, not the molave nor the narra, but the bamboo.
Enrichment Activity
1. Using the essay as a pattern, write your own essay to illustrate or typify an
outstanding character trait of the Batangueños.
2. Make a scrapbook showing pictures of the tragedies, calamities, and challenges
faced by the people of Calabarzon. Show how being “pliant like a bamboo” of the
Calabarzon people helped them survived the mentioned challenges.
C. Poem
KA BEL
ni: Bienvenido Lumbera
Ang lider ay isang sangkap lamang ng tagumpay,

Ang masa ang siyang tunay na mapagpasiya.
Maraming beses na nating sinabi sa kanila,
Subalit makunat talaga ang kanilang utak,
Ayaw nang talaban ng ating katotohanan.
Iligpit ang lider at tuluyang mawawasak
Ang rebolusyong binabalak, iyan lamang
Ang kaya nilang paniwalaan.
Ulianin ang katarungang atas ng Malakanyang,

Dinaklot ng batas na walang kinamuwangan
Ang lider ng Anakpawis, di-umano’y imbitasyon lang,
Proklamasyon 1017 ang mahigpit na dahilan.
Nang maikandado ang seldang kulungan,
Inakala nilang nalumpo na ang himagsikan,
Kaliweteng party-list di na makagagalaw.
Subalit ang mga manggagawa, lahat ng anakpawis

Na walang pangalan sa mga pabrika at lansangan,
Ang mga pagtutol na isinisigaw, ang pagkakabigkis

Lalong tumitibay—Palayain si Crispin Beltran!

Ang masa, ang masa, pag nabuksan ang isipan,
Uugit ng landas tungo sa kalayaan.
Diwa ni Ka Bel di kayang ihiwalay ng rehas na bakal
Sa sambayang kanyang pinaglingkuran,
Naging sinag ng araw na tumimo sa kamalayan,
At ngayo’y liwanag na nagpupumiglas
Sa dilim at dagim na isinasabog ng Malakanyang.
Loob nati’y tibayan, likumin ang kaliwanagan,
Bukang-liwayway ng ating paglaya’y
Hinding-hindi na mapipigilan!
Enrichment Activity
1. What idea is being presented in the poem by Lumbera?

2. Make a research about Crispin Beltran. Why is the poem written for him? What
important role was played by the poem in the life of Ka Bel or Crispin Beltran?
3. Create and recite a spoken poetry using either nationalism, patriotism, labor
disputes or political arguments happening in the country.

UNIT II
Literature from the World
At the end of the lessons, the students will be able to:
1. Evaluate the influence of the literature from other countries to the development of
Philippine literature
2. Identify and understand the culture and social conditions of other nations through
their pieces of literary genres
3. Situate the texts in the context of the nation and the world
4. Compare and contrast the various 21st-century literary genres and their elements,
structures, and traditions from across the globe
5. Apply ICT skills in crafting an adaptation of a literary text
Lesson 1
Literature from Asian Countries
Asian literature refers to the literature that was written over a period of thousands
of years, in a variety of countries in Asia. Asian literature encompasses East Asian
literature that includes Chinese, Japanese and Korean literature; Central Asian literature
comprising of Bengali, Indian, Pakistani and Tamil literature; West Asian Literature that
covers Arabic literature, Persian literature and Turkish literature and South East Asian
Literature that is comprised of the literature of the Philippines.
The study of the massive amount of Asian literature as a whole requires the
aggregation of literature under specific headings. Asian literature can be divided into a
host of different labels, categorized according to religion, zone, region, ethnic group,
literary genre, historical perspective or language of origin.
Though throughout the centuries a vast amount of Asian literature has been
written, most of Asian literature can be broadly categorized as lyric, drama or narrative.
The literary type Asian writing was usually determined by the surrounding culture of the
time and often expresses the ideologies prevalent in the era.

Some researchers choose a straightforward division of Asian literature,

categorizing the mass of literature under Chinese, Japanese and Indian literature based
on the longevity and influence of the literary traditions of these countries.
Much of Indian literature was originally written in Sanskrit, the Indic language of
Hinduism and the Vedas, the religion's sacred texts. Sanskrit lyric poetry can be further
categorized into three genres, fragmentary lyric, and narrative lyric and dramatic lyric.
Most Sanskrit poetry stems from anthologies of lyrics that were compiled in medieval
India from earlier sources.
Another large section of Indian literature is written in Tamil, a language that is

spoken mainly in southeastern India. The earliest Tamil poetry was written between 100
BCE and 250 CE. These poems were later anthologized in The Ettutokai and the
Pattuppattu.
Though Hindi was not accepted as an appropriate language for literature, as it

was overshadowed by Sanskrit, classic religious poems were written in this language as
early as the fifteenth century. Between the fifteenth and seventeenth century a collection
of bhakti poetry emerged. Bhakti refers to the devotion and relationship that a person
has with God.
The ghazal is a form of lyric poetry written in Urdi, an Indic language that is the
literary language of Pakistan. The ghazal can be compared to the sonnet, since both are
about the same length and are usually romantic and introspective.
Modern Indian literature includes the many works of Rabindranath Tagore (1861-
1940). Despite the sheer mass of his writings, his works are less known because of the
language in which they were written, Bengalese. The eight novels and short stories of
Anita Desai's have earned her international acclaim. They give voice to characters other
than adult male protagonists, such as women, children, adolescents and the elderly.
Other prominent Indian authors include Premchand who was most notably known for his
short stories and Salman Rushdie, known for his Midnight's Children and for the
backlash to his Satanic Verses that was published in 1988.
Different than Indian literature, Chinese literature does not include epic poetry.
Most of their literature focuses on everyday events, such as the prevalent agricultural
society.

Chinese literature includes the revered text, The Book of Songs. It is a collection
of 305 poems. Some believe that Confucius himself compiled the collection, though
there are texts that state that the collection was assembled by the officials of the Zhou
dynasty.
The Chuang Zu is one of the fundamental texts of Taoism. The text had a
profound influence on Chinese thought and literature. It is a collection of writings that
was compiled in the second century BCE. The Records of the Historian is a prominent
historical work in Chinese literature. It was written in classical Chinese by Sima Qian,
who is a symbol of heroism in Chinese culture. Another work of Chinese literature is The
Journey to the West, which is a narrative regarding the expedition of a Buddhist master
to India in quest of Holy Scriptures.
Modern Chinese literature includes the works of Lu Xun who published two
volumes of stories in 1923 and 1926. Lu was one of the most distinguished Chinese
novelists of the 1930s. He wrote the Camel Xiangzi in 1937, depicting the degradation of
a rickshaw puller in a society devoid of justice.
Japanese literature includes the Man'yoshu, one of the greatest collections of

Japanese poetry. The latest poem in the anthology was dated 759. Its compiler is
unknown, though there are some who believe that it was the work of Otomo no
Yakomochi.
Other Japanese authors include Matsuo Basho (1644-94) a noted haiku writer
and Murasaki Shikibu, who wrote the Tale of the Genji. That book was written in the
eleventh century and is an epic narration of the hero Genji or Minamoto, and idealizes
love that matures after marriage.
Modern Japanese authors include Tanizaki Junichiro who wrote a twenty-eight

volume body of work; Enchi Fumiko who was known as the most prominent female
Japanese writer of her time; Abe Kobo who wrote his sensational Suna no onna novel in
1962, and Kawabata Yasunari who was a Nobel Prize laureate for literature.
A. Literature from India
Following is an excerpt from The Ramayana. The Ramayana is one of the largest
ancient epics in world literature. It consists of nearly 24,000 verses, divided into seven
Kāṇḍas (books) and about 500 sargas (chapters). In Hindu tradition, it is considered to

be the ādi-kāvya. It depicts the duties of relationships, portraying ideal characters like
the ideal father, the ideal servant, the ideal brother, the ideal wife and the ideal king.
The Ramayana was an important influence on later Sanskrit poetry and Hindu life and
culture. Like the Mahabharata, the Ramayana is not just a story: it presents the
teachings of ancient Hindu sages in narrative allegory, interspersing philosophical and
ethical elements.
The Story of Rama and Sita
This is the story of Prince Rama and his wife Sita. Prince Rama was the son of a
great King, and was expected to become King himself one day. However, his
stepmother wanted her own son to become King and tricked her husband into banishing
Rama and his wife Sita to live in the forest. But this was no ordinary forest. This was the
forest where demons lived, including Demon King Ravana.
Ravana had twenty arms and ten heads. There were two eyes on each head
and a row of sharp yellow teeth. When Ravana saw Sita he wanted her for himself and
so decided to kidnap her. Ravana placed a beautiful deer into the forest. When Sita saw
the deer she asked Rama if he could capture it for her so they could have it as a pet.
However, when Rama was out of sight Ravana came swooping down in a chariot pulled
by flying monsters and flew off with Sita. Sita, although afraid, was also clever. Being a
princess she wore lots of jewelery and she dropped her jewels, piece by piece onto the
ground to leave a trail for Rama. Sure enough Rama, realizing he had been tricked,
discovered the trail, and also came upon his friend Hanuman, King of the Monkeys.
Hanuman promised Rama that he and all the monkeys would help Rama to find
Sita and they searched the world looking for her. Eventually, a monkey located Sita on a
dark, isolated island, surrounded by rocks and stormy seas. Hanuman flew to Sita to
make sure it really was her. She gave him her last precious pearl to give to Rama and
prove it really was her and she had been found. The monkeys helped Rama for a
second time by throwing stones and rocks into the sea until they had built a great bridge
to the island. Rama and his faithful army battled with the demons until they were
victorious. Finally, Rama took his wonderful bow and arrow, specially made to defeat all
evil demons, and shot Ravana through the heart, killing him. There were huge
celebrations when Rama and Sita returned to the kingdom. Everyone placed a light in
their windows and doorways to show that the light of truth and goodness had defeated
the darkness of evil and trickery.

Enrichment Activity
1. Find a copy of the Filipino epic “Biag ni Lam-ang.” Compare and contrast the said
epic with that of the above excerpt Rama and Sita. How are they similar? In what
way are they different?
B. Literature from Japan
Early works of Japanese literature were heavily influenced by cultural contact

with China and Chinese literature, often written in Classical Chinese. Indian
literature also had an influence through the Diffusion of Buddhism in Japan. Eventually,
Japanese literature developed into a separate style in its own right as Japanese writers
began writing their own works about Japan, although the influence of Chinese literature
and Classical Chinese remained until the end of the Edo period. Since Japan reopened
its ports to Western trading and diplomacy in the 19th century, Western and Eastern
literature have strongly affected each other and continue to do so. Very famous form of
literature that most Filipinos have imbibed is Japanese poetry.
B.1. Haiku
Haiku is a short, 3-line verse form, which has achieved significant global
popularity, and the haiku form has been adapted from Japanese into other languages.
Typical of the haiku form is the metrical pattern of 3 lines with a distribution of 5, 7, and 5
syllables in each of the lines. Notice the example given below:
This Other World

By: Richard Wright
Whitecaps on the bay: (5)

A broken signboard banging (7)
In the April wind. (5)
An old silent pond... Toward those short stories
A frog jumps into the pond, We saw a hawk descending
splash! Silence again. On a day in spring.
- Matsuo Bashō -Masaoka Shiki

Examples of Tagalog Haiku
HAIKU PAG-IBIG
Mahirap pala Nakakakilig
Ang lima-pito-lima Kung ika’y umiibig
Pantig na tula. Sarap sa dibdib.
Kakaiba nga, Diwa ko’t puso

Ganitong mga tula Ay para lang sa iyo,
Nakakasigla. Minamahal ko.
Enrichment Activity
1. Based on the examples, how may the Japanese poetry influence Filipino poetry?
2. Choose a topic then make your own haiku.
B.2. Tanka
A tanka poem is a Japanese poem which can also be known as a waka or uta.
A tanka poem is similar to a haiku but has two additional lines, thus; there are five lines
in a poem and 31 syllables. It follows the 5-7-5-7-7 structure which means that the first
line must have 5 syllables, second line must have 7 syllables, third line with five, fourth
line must have seven syllables and the fifth line must again have seven syllables. A
tanka uses figures of speech like simile, metaphor and personification. To better
understand the structure, take a look into these examples:
What Goes Around Comes Around
Deeds are potent seeds

Which proceed to those in need?
To be freed from greed
Of those of a higher breed,
Who follow an evil creed?

Clock
Time is running out.

Cherish every moment.
This could be the end.
So believed, be free and lived.
Regrets are only options!
Example of Tagalog Tanka
Kilig
marinig ko lang
tunog ng iyong ngalan
oh, tumitigil
inog niyaring mundo
ikot ng orasan ko…
Enrichment Activity
1. Conduct a research on tanaga. Give the similarities and differences of tanka and
tanaga. Write your own collection of tanka and tanaga.
C. Literature from China

Chinese literature extends thousands of years, from the earliest recorded
dynastic court archives to the mature vernacular fiction novels that arose during the Ming
Dynasty to entertain the masses of literate Chinese. The introduction of
widespread woodblock printing during the Tang Dynasty (618–907) and the invention
of movable type printing by Bi Sheng (990–1051) during the Song Dynasty (960–1279)
rapidly spread written knowledge throughout China. In more modern times, the author Lu
Xun (1881–1936) is considered the founder of baihua literature in China.
Chinese literature is a vast subject that spans thousands of years. One of the
interesting things about Chinese literature is that much of the serious literature was
composed using a formal written language that is called Classical Chinese. One of the
most famous novels which were later translated into a movie is “Journey to the West.”
This novel was based on the real-life monk Xuan Zang’s pilgrimage to India, to fetch
back some Bhuddist scriptures. Nonetheless, this fictional retelling focuses on xuan
Zang’s first disciple, the monkey king, Sun Wu Kong, who captured readers’ hearts and
imagination with his bold, daring and mischievous personality. He was also very
rebellious. As a matter of fact, Wu Cheng’ en wrote this novel to criticize China’s political
system and society.

Excerpt from “Journey to the West”

Wu Cheng'en
There was a rock that since the creation of the world had been worked upon by
the pure essence of Heaven and fine savours of Earth, the vigour of sunshine and the
grace of moonlight, till at last it became magically pregnant and one day split open,
giving birth to a stone egg, about as big as a playing ball. Fructified by the wind it
developed into a stone monkey, complete with every organ and limb.
At once this monkey learned to climb and run; but its first act was to make a bow
towards each of the four quarters. As it did so, a steely light darted from this monkey's
eyes and flashed as far as the Palace of the Polar Star. This shaft of light astonished the
Jade Emperor as he sat in the Cloud Palace of the Golden Gates, in the Treasure Hall of
Holy Mists, surrounded by his fairy Ministers. Seeing this strange light flashing, he
ordered Thousand-league Eye and Down-the-wind Ears to open the gate of the
Southern Heaven and look out. At his bidding these two captains went out to the gate
and looked so sharply and listened so well that presently they were able to report, "This
steely light comes from the borders of the small country of Ao-lai that lies to the east of
the Holy Continent, from the Mountain of Flowers and Fruit. On this mountain is a magic
rock, which gave birth to an egg. This egg changed into a stone monkey, and when he
made his bow to the four quarters a steely light flashed from his eyes with a beam that
reached the Palace of the Polar Star. But now he is taking a drink, and the light is
growing dim."
The Jade Emperor condescended to take an indulgent view. "These creatures in

the world below," he said, "were compounded of the essence of heaven and earth, and
nothing that goes on there should surprise us." That monkey walked, ran, leapt, and
bounded over hills, feeding on grasses and shrubs, drinking from streams and springs,
gathering the mountain flowers, looking for fruits. Wolf, panther, and tiger were his
companions, the deer and civet were his friends, gibbons and baboons his kindred. At
night he lodged under cliffs of rock, by day he wandered among the peaks and caves.
One very hot morning, after playing in the shade of some pine-trees, he and the other
monkeys went to bathe in a mountain stream. See how those waters bounce and tumble
like rolling melons!
There is an old saying, "Birds have their bird language, and beasts have their
beast talk." The monkey said, "We none of us know where this stream comes from. As
we have nothing to do this morning, wouldn't it be fun to follow it up to its source?" With
a whoop of joy, dragging their sons and carrying their daughters, calling out to younger
brother and to elder brother, the whole troupe rushed along the streamside and

scrambled up the steep places, till they reached the source of the stream. They found
themselves standing before the curtain of a great waterfall.
All the monkeys clapped their hands and cried aloud, "Lovely water, lovely water!
To think that it starts far off in some cavern below the base of the mountain, and flows all
the way to the great sea! If any of us were bold enough to pierce that curtain, get to
where the water comes from and return unharmed, we would make him our king" Three
times the call went out, when suddenly one of them leapt from among the throng and
answered the challenge in a loud voice. It was Stone Monkey. "I will go," he cried, "I will
go!" Look at him! He screws up his eyes and crouches; then at one bound he jumps
straight through the waterfall. When he opened his eyes and looked around him, he
found that where he had landed there was no water. A great bridge stretched in front of
him, shining and glinting. When he looked closely at it, he saw that it was made all of
burnished iron. The water under it flowed through a hole in the rock, filling in all space
under the arch. Monkey climbed up on to the bridge and, spying as he went, saw
something that looked just like a house. There were stone seats and stone couches, and
tables with stone bowls and cups. He skipped back to the hump of the bridge and saw
that on the cliff there was an inscription in large square writing which said, "This Cave of
the Water Curtain in the blessed land of the Mountain of Flowers and Fruit leads to
Heaven." Monkey was beside himself with delight. He rushed back again and crouched,
shut his eyes and jumped through the curtain of water.
Enrichment Activity
1. Watch the movie counterpart of the novel “Journey to the West.”

2. Make an analysis on how this novel may have similarities with “Noli Me
Tangere” and “El Filibusterismo” of Dr. Jose Rizal.

Lesson 2
Literature from Arabia
Arabic literature refers to the body of written works produced in the Arabic
language.
The tradition of Arabic literature stretches back some 16 centuries to
unrecorded beginnings in the Arabian Peninsula. At certain points in the development of
European civilization, the literary culture of Islam and its Arabic medium of expression
came to be regarded not only as models for emulation but also, through vital conduits
such as Moorish Spain and Norman Sicily, as direct sources of inspiration for the
intellectual communities of Europe. The rapid spread of the Islamic faith brought the
original literary tradition of the Arabian Peninsula into contact with many other cultural
traditions—Byzantine, Persian, Indian, Amazigh (Berber), and Andalusian, to name just
a few—transforming and being transformed by all of them.
The Arabic literary tradition began within the context of a tribal, nomadic culture.
With the advent and spread of Islam, that tradition was carried far and wide during the
course of the 7th to the 10th century. It initially sought to preserve the values of chivalry
and hospitality while expressing a love of animals and describing the stark realities of
nature, but it proceeded to absorb cultural influences from every region.
The Thousand and One Nights, also called The Arabian Nights, is one of the
world’s greatest literary pieces. It is a collection of largely Middle Eastern and
Indian stories of uncertain date and authorship whose tales of Aladdin, Ali Baba, and
Sindbad the Sailor have almost become part of Western folklore. Here is one of the
stories from this great literary work of all times:
Once upon a time, there was a great king, who had his reign from Persia
to Arabia. The king had two sons named Shahryar and Shah Zaman. After the
death of the king, Shahryar the elder son ascended on the throne of Baghdad.
The younger son, Shah Zaman ruled over Samarkand.
Both the brothers ruled their respective kingdoms with wisdom and
justice. They were loved and respected by their subjects. Thoroughly busy with
their administrative responsibilities; the two brothers could not meet each other
for twenty long years. Shahryar had a long crave to see his beloved brother. So
one day, he sent his Wazir with a letter and numerous splendid gifts to his

younger brother Shah Zaman. In his letter to his brother, Shahryar expressed his
earnest desire to see him.
After days of long journey through the deserts, the Wazir reached the
court of Samarkand. He presented the letter and gifts to the king. The warmth of
the letter sent by his beloved brother Shahryar, made him jubilant. He became
nostalgic remembering his elder brother. Shah Zaman at once accepted the
invitation. He decided to go to Baghdad to see his brother. Shah Zaman
requested the Wazir to stay in Samarkand as a royal guest for three days.
Meanwhile, Shah Zaman collected a good number of rich gifts for his brother and
asked his officers to make the necessary preparation for the long journey.
Shah Zaman was ecstatic at the thought of meeting his brother. On the
fourth day, he had to leave for Baghdad. However, just before leaving for
Baghdad, Shah Zaman chanced to witness the unfaithfulness of his wife. Shah
Zaman saw his wife expressing her love to one of her slaves. Raged and
shocked by the unimaginable sight, Shah Zaman took out his sword and
chopped off his wife’s head at once.
Shah Zaman loved his wife very much. The incident had shattered him.
Immediately after the incident, he set out for Baghdad. But all his happiness had
vanished. He was thoroughly grief -stricken. The sorrow and bitterness turned
Shah Zaman pale and weak.
When Shah Zaman reached Baghdad, Shahryar gave him a warm and
splendid welcome. The brothers hugged each other passionately. However, the
grief-stricken pale look of Shah Zaman worried the elder brother Shahryar. When
the two brothers sat all alone, Shahryar asked, “Dear brother! Your pale and
grieved look is worrying me. What’s ailing you?”
Shah Zaman hid his distress and made an excuse. He said, “Dear
brother, I’m not at all worried. The long and tiring journey is the culprit. I’m quite
hale and hearty.”
However, Shahryar was not convinced with the reply. So he called the
royal physician and asked him to treat his brother. The physician tried various
medicines one after another. However, all the medicines and other treatments
went in vain. Shah Zaman’s condition did not improve. Most of the time, he would
live quietly in the palace and refuse to enjoy different flavours of the life.

One day, Shahryar chalked out a plan for hunting and invited his brother
to accompany him. But Shah Zaman showed his unwillingness and chose to stay
home.
In the absence of his brother, Shah Zaman witnessed the similar sight.
Which had shattered him? His brother’s wife was also unfaithful and wicked. She
too was involved with one of her slaves and desired to marry him.
This shocking incident proved wonder remedy for Shah Zaman. He
overcame from his sorrow. He thought, “I’m not the only one who has unfaithful
wife. There are many others like me.” The incident strengthened his belief that
women are evil, wicked and unfaithful.
The fact that he was not the only unlucky man who was cheated by his
wife, but was one among many unfortunates, helped him in recovering fast.
When Shahryar returned from his hunting trip, he found his brother hale
and hearty. Shahryar was very happy to see his brother cheerful.
Later on, Shah Zaman disclosed to Shahryar what he had witnessed in
his absence. Shah Zaman also unearthed the ugly secret behind his pale and
shattered condition.
Mad out of anger, Shahryar at once rushed to his wife and chopped off
her head. The angry Shahryar then took a wild oath, “Everyday I’ll marry a
maiden for a night. Next day, early in the morning, she will be killed. This way, I
will never provide any opportunity to my wife to betray me.” After few days, Shah
Zaman returned to his kingdom.
Shahryar remained adamant on his insane oath. He called his Wazir and
apprised him about his oath. Shahryar said, “You have to bring one young
maiden everyday and make her my bride for the evening. Make sure that she will
be killed in the morning.”
The king’s cruel and crazy oath astonished everyone. People were
frightened but what they could do. The cruel practice started. Each morning a
young beautiful maiden was hacked to death. It went like this for years. Parents
of the young girls started fleeing from the kingdom. Soon the kingdom was totally
bereft of young girls.
One day, the Wazir returned home anxious. The Wazir had two beautiful
daughters named Shahrazad and Dinarazad. Shahrazad, the elder daughter was
exceptionally wise, humble and soft spoken. Besides this, she was a voracious

reader and a learned person. When Shahrazad noticed her father’s tensed and
perturbed face, she asked, “Father, you are looking unusually disturbed. What’s
the reason for your worry?”
The Wazir said, “Dear daughter, the king has ordered me to bring a bride
for tonight. However, not a single young girl is left there in our kingdom now.
Shaken by the possible death, all the parents of the young girls had left the
kingdom with their daughters. Now if I go to the king without any bride, he will
chop off my head for not obeying his order.”
Shahrazad said, “Father, please don’t worry! Take me to the king as his
bride.”
Astonished to hear this, the Wazir exclaimed, “How can I do this? Don’t
you know what end do the king’s brides meet?”
Shahrazad said calmly, “I’m fully aware of what fate the brides meet, my
dear father! Even then, I emphasize you to produce me as the king’s bride. I am
confident that my wisdom, will force the king to change his thought regarding
women. In case I fail to do so, I’ll have a satisfaction of dying for a good cause.”
However, the argument laid by Shahrazad was not at all acceptable to the
Wazir. He was not ready to send his daughter to meet such a cruel fate. He said
angrily, “If you will not obey me, you will have to face the same misfortune, which
was faced by the farm owner, the master of the bull and the donkey.” Shahrazad
asked, “O father, what’s the tale of the farm owner?”
The daughter marries Shahrayar, and then begins to tell him a story that
night. However, she stops the story in the middle, so that he will be excited to
hear the rest the following night. The next evening, she finishes that story and
then begins another, following the same pattern for 1,001 nights, until Shahrayar
has a change of heart. The stories she tells comprise the collection.
Enrichment Activity
1. Discuss why the tale influenced Filipino literature more specifically, the children’s
literature in the country?
2. Relate how the Filipino sayings “ang utos ng hari ay hindi maari mabali” and
“matalino man ang matsing, napaglalamangan din” were employed in the course
of the story.

Lesson 3
Literature from Africa
African literature is as diverse as the continent itself, but several characteristics

and themes prevail throughout much of the written works emerging from Africa. For
instance, there is often a great emphasis on the history, culture, and customs of a group
of people when telling their stories.
African literature is meant in large part to be educational as well as entertaining.

Morals and lessons are typically woven into well-crafted and engaging stories. There is
also great pride in sharing stories about history and culture, even if the stories aren't
always pleasant and uplifting. That pride is the essence of African literature.
Chinua Achebe (pronounced Chee-noo-ah Ah-chay-bay) is considered by many

critics and teachers to be the most influential African writer of his generation. His
writings, including the novel Things Fall Apart, have introduced readers throughout the
world to creative uses of language and form, as well as to factual inside accounts of
modern African life and history. Not only through his literary contributions but also
through his championing of bold objectives for Nigeria and Africa, Achebe has helped
reshape the perception of African history, culture, and place in world affairs.
The first novel of Achebe's, Things Fall Apart, is recognized as a literary classic
and is taught and read everywhere in the English-speaking world. The novel has been
translated into at least forty-five languages and has sold several million copies. A year
after publication, the book won the Margaret Wong Memorial Prize, a major literary
award.
Achebe was born in the Igbo (formerly spelled Ibo) town of Ogidi in eastern
Nigeria on November 16, 1930, the fifth child of Isaiah Okafor Achebe and Janet
Iloegbunam Achebe. His father was an instructor in Christian catechism for the Church
Missionary Society. Nigeria was a British colony during Achebe's early years, and
educated English-speaking families like the Achebes occupied a privileged position in
the Nigerian power structure. His parents even named him Albert, after Prince Albert, the
husband of Queen Victoria of Great Britain. (Achebe himself chose his Igbo name when
he was in college.) Following is the summary of the book “Things Fall apart.”

Things Fall Apart is about the tragic fall of the protagonist, Okonkwo, and
the Igbo culture. Okonkwo is a respected and influential leader within the Igbo
community of Umuofia in eastern Nigeria. He first earns personal fame and
distinction, and brings honor to his village, when he defeats Amalinze the Cat in a
wrestling contest. Okonkwo determines to gain titles for himself and become a
powerful and wealthy man in spite of his father's weaknesses.
Okonkwo's father, Unoka, was a lazy and wasteful man. He often

borrowed money and then squandered it on palm-wine and merrymaking with
friends. Consequently, his wife and children often went hungry. Within the
community, Unoka was considered a failure and a laughingstock. He was
referred to as agbala, one who resembles the weakness of a woman and has no
property. Unoka died a shameful death and left numerous debts.
Okonkwo despises and resents his father's gentle and idle ways. He
resolves to overcome the shame that he feels as a result of his father's
weaknesses by being what he considers to be "manly"; therefore, he dominates
his wives and children by being insensitive and controlling.
Because Okonkwo is a leader of his community, he is asked to care for a

young boy named Ikemefuna, who is given to the village as a peace offering by
neighboring Mbaino to avoid war with Umuofia. Ikemefuna befriends Okonkwo's
son, Nwoye, and Okonkwo becomes inwardly fond of the boy.
Over the years, Okonkwo becomes an extremely volatile man; he is apt to

explode at the slightest provocation. He violates the Week of Peace when he
beats his youngest wife, Ojiugo, because she went to braid her hair at a friend's
house and forgot to prepare the afternoon meal and feed her children. Later, he
severely beats and shoots a gun at his second wife, Ekwefi, because she took
leaves from his banana plant to wrap food for the Feast of the New Yam.
After the coming of the locusts, Ogbuefi Ezeuder, the oldest man in the
village, relays to Okonkwo a message from the Oracle. The Oracle says that
Ikemefuna must be killed as part of the retribution for the Umuofian woman killed
three years earlier in Mbaino. He tells Okonkwo not to partake in the murder, but
Okonkwo doesn't listen. He feels that not participating would be a sign of
weakness. Consequently, Okonkwo kills Ikemefuna with his machete. Nwoye

realizes that his father has murdered Ikemefuna and begins to distance himself
from his father and the clansmen.
Okonkwo becomes depressed after killing Ikemefuna, so he visits his best

friend, Obierika, who disapproves of his role in Ikemefuna's killing. Obierika says
that Okonkwo's act will upset the Earth and the earth goddess will seek revenge.
After discussing Ikemefuna's death with Obierika, Okonkwo is finally able to
sleep restfully, but he is awakened by his wife Ekwefi. Their daughter Ezinma,
whom Okonkwo is fond of, is dying. Okonkwo gathers grasses, barks, and leaves
to prepare medicine for Ezinma.
A public trial is held on the village commons. Nine clan leaders, including
Okonkwo, represent the spirits of their ancestors. The nine clan leaders,
or egwugwu, also represent the nine villages of Umuofia. Okonkwo does not sit
among the other eight leaders, or elders, while they listen to a dispute between
an estranged husband and wife. The wife, Mgbafo, had been severely beaten by
her husband. Her brother took her back to their family's village, but her husband
wanted her back home. The egwugwu tell the husband to take wine to his in-laws
and beg his wife to come home. One elder wonders why such a trivial dispute
would come before the egwugwu.
In her role as priestess, Chielo tells Ekwefi (Okonkwo's second wife) that
Agbala (the Oracle of the Hills and Caves) needs to see Ezinma. Although
Okonkwo and Ekwefi protest, Chielo takes a terrified Ezinma on her back and
forbids anyone to follow. Chielo carries Ezinma to all nine villages and then
enters the Oracle's cave. Ekwefi follows secretly, in spite of Chielo's admonitions,
and waits at the entrance of the Oracle. Okonkwo surprises Ekwefi by arriving at
the cave, and he also waits with her. The next morning, Chielo takes Ezinma to
Ekwefi's hut and puts her to bed.
When Ogbuefi Ezeudu dies, Okonkwo worries because the last time that
Ezeudu visited him was when he warned Okonkwo against participating in the
killing of Ikemefuna. Ezeudu was an important leader in the village and achieved
three titles of the clan's four, a rare accomplishment. During the large funeral,
Okonkwo's gun goes off, and Ezeudu's sixteen-year-old son is killed accidentally.

Because the accidental killing of a clansman is a crime against the earth

goddess, Okonkwo and his family must be exiled from Umuofia for seven years.
The family moves to Okonkwo's mother's native village, Mbanta. After they
depart Umuofia, a group of village men destroy Okonkwo's compound and kill his
animals to cleanse the village of Okonkwo's sin. Obierika stores Okonkwo's yams
in his barn and wonders about the old traditions of the Igbo culture.
Okonkwo is welcomed to Mbanta by his maternal uncle, Uchendu, a

village elder. He gives Okonkwo a plot of land on which to farm and build a
compound for his family. But Okonkwo is depressed, and he blames his chi (or
personal spirit) for his failure to achieve lasting greatness.
During Okonkwo's second year in exile, he receives a visit from his best
friend, Obierika, who recounts sad news about the village of Abame: After a
white man rode into the village on a bicycle, the elders of Abame consulted their
Oracle, which told them that the white man would destroy their clan and other
clans. Consequently, the villagers killed the white man. But weeks later, a large
group of men slaughtered the villagers in retribution. The village of Abame is now
deserted.
Okonkwo and Uchendu agree that the villagers were foolish to kill a man
whom they knew nothing about. Later, Obierika gives Okonkwo money that he
received from selling Okonkwo's yams and seed-yams, and he promises to do so
until Okonkwo returns to Umuofia.
Six missionaries, including one white man, arrive in Mbanta. The white
man speaks to the people about Christianity. Okonkwo believes that the man
speaks nonsense, but his son, Nwoye, is captivated and becomes a convert of
Christianity.
The Christian missionaries build a church on land given to them by the

village leaders. However, the land is a part of the Evil Forest, and according to
tradition, the villagers believe that the missionaries will die because they built
their church on cursed land. But when nothing happens to the missionaries, the
people of Mbanta conclude that the missionaries possess extraordinary power
and magic. The first recruits of the missionaries are efulefu, the weak and
worthless men of the village. Other villagers, including a woman, soon convert to

Christianity. The missionaries then go to Umuofia and start a school. Nwoye

leaves his father's hut and moves to Umuofia so he can attend the school.
Okonkwo's exile is over, so his family arranges to return to Umuofia.

Before leaving Mbanta, they prepare a huge feast for Okonkwo's mother's
kinsmen in appreciation of their gratitude during Okonkwo's seven years of exile.
When Okonkwo returns to Umuofia, he discovers that the village has

changed during his absence. Many men have renounced their titles and have
converted to Christianity. The white men have built a prison; they have
established a government court of law, where people are tried for breaking the
white man's laws; and they also employ natives of Umuofia. Okonkwo wonders
why the Umuofians have not incited violence to rid the village of the white man's
church and oppressive government.
Some members of the Igbo clan like the changes in Umuofia. Mr. Brown,
the white missionary, respects the Igbo traditions. He makes an effort to learn
about the Igbo culture and becomes friendly with some of the clan leaders. He
also encourages Igbo people of all ages to get an education. Mr. Brown tells
Okonkwo that Nwoye, who has taken the name Isaac, is attending a teaching
college. Nevertheless, Okonkwo is unhappy about the changes in Umuofia.
After Mr. Brown becomes ill and is forced to return to his homeland,
Reverend James Smith becomes the new head of the Christian church. But
Reverend Smith is nothing like Mr. Brown; he is intolerant of clan customs and is
very strict.
Violence arises after Enoch, an overzealous convert to Christianity,

unmasks an egwugwu. In retaliation, the egwugwu burn Enoch's compound and
then destroy the Christian church because the missionaries have caused the
Igbo people many problems.
When the District Commissioner returns to Umuofia, he learns about the

destruction of the church and asks six leaders of the village, including Okonkwo,
to meet with him. The men are jailed until they pay a fine of two hundred and fifty
bags of cowries. The people of Umuofia collect the money and pay the fine, and
the men are set free.

The next day at a meeting for clansmen, five court messengers who
intend to stop the gathering approach the group. Suddenly, Okonkwo jumps
forward and beheads the man in charge of the messengers with his machete.
When none of the other clansmen attempt to stop the messengers who escape,
Okonkwo realizes that they will never go to war and that Umuofia will surrender.
Everything has fallen apart for Okonkwo; he commits suicide by hanging himself.
Enrichment Activity
1. Develop a short film, a role play or other forms of creative adaptation using the
plot of the novel.
2. Showcase your output and do a peer assessment of your output based on
rationalized criteria to be presented by the teacher.

REFERENCES:
Abad, G.H. and Hidalgo, C. P. (2003)., Our People’s Story: Philippine Literature in
English. University of the Philippines, Quezon City.
Dones, Marichelle G., et.al. (2010)., Philippine Literature: A Student Guide.,

Mindshapers Co., Inc. Intramuros, Manila.
Maramba, Asuncion D.,(1990) Philippine Contemporary Literature in English and

Filipino. National Bookstore, Manila.
Romero, Perlita P. and Eugenio, Pacelli S. (2004). An Approach to Literature:

(Modern Genres from America, Britain and the Philippines)., Katha
Publishing Co. Inc.
Rosales, Renato D. (2010). World Literature (Asian, African, Islamic and South
American). Katha Publishing Co. Inc.
Online Sources:
http://www.academia.edu/5024709/BATANGAS_LITERATURE_REFLECTING_UNIQUE
_BATANGUENO_TRAITS_BRIDGE_TO_CULTURAL_DEVELOPMENT
https://www.google.com.ph/search?q=about+journey+to+the+west+&ei=HmgEWMT9Os
HlvgT676LgDw&emsg=NCSR&noj=1
http://www.goodreads.com/author/show/5156421.Bienvenido_L_Lumbera
https://www.cliffsnotes.com/literature/t/things-fall-apart/book-summary
https://www.youtube.com/watch?v=PrBQs6GF7mE
http://www.gojapango.com/culture/japanese_literature.html
http://www.chinahighlights.com/travelguide/culture/history-of-chinese-literature.htm
http://wowbatangas.com/features/people/famous-batanguenos-from-the-pages-of-the-
history-and-beyond/

CORE 5 21st Century Literature

Uploaded by

Document Information

Original Description:

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

CORE 5 21st Century Literature

Uploaded by

Copyright:

Available Formats

CORE 5

21ST CENTURY FROM THE

UNIT I: LITERATURE FROM THE PHILIPPINES

UNIT II: LITERATURE FROM THE WORLD

LESSON 2: Literature from Arabia 368

LESSON 3: Literature from Africa 372

LCC SILVERCREST SENIOR HIGH SCHOOL

At the end of the lessons, the students will be able to:

1. Ascertain the importance of literature in their lives as individuals

Literature is a term used to describe written and sometimes spoken material.

Simply put, literature represents the culture and tradition of a language or a

LCC SILVERCREST SENIOR HIGH SCHOOL

Standards of Good Literature

Good literature is distinguishable by the following qualities:

 Artistry – quality which appeals to our sense of beauty

LCC SILVERCREST SENIOR HIGH SCHOOL

Two Main Divisions of Literature

1. Prose Drama- consists dialogues in prose and intended to be acted on stage

LCC SILVERCREST SENIOR HIGH SCHOOL

1. Narrative Poetry – a poem that tells a story

LCC SILVERCREST SENIOR HIGH SCHOOL

d. Corridos- these have measures of eight syllables (octosyllabic) and

3. Dramatic Poetry- just like an ordinary drama, this is intended to be staged

Calabarzon formally known as Southern Tagalog Mainland and designated

LCC SILVERCREST SENIOR HIGH SCHOOL

CALABARZON is also rich in cultural traditions. Laguna is known for embroidery,

Famous Writers from CALABARZON

1. José Protasio Rizal Mercado y Alonso Realonda, popularly known as José

LCC SILVERCREST SENIOR HIGH SCHOOL

writer, essayist, fictionist, professor, textbook writer, and anthologist in

LCC SILVERCREST SENIOR HIGH SCHOOL

6. Celso Ad Castillo (September 12, 1943 – 26 November 2012) was a Filipino

LCC SILVERCREST SENIOR HIGH SCHOOL

September 12, 1943. He became a movie director, scriptwriter, and actor. He

LCC SILVERCREST SENIOR HIGH SCHOOL

LCC SILVERCREST SENIOR HIGH SCHOOL

LCC SILVERCREST SENIOR HIGH SCHOOL

She was sent to college on scholarship by a priest. After finishing a

3. Teodoro M. Kalaw, the so-called Father of Philippine Libraries, was born on

Among his important works were La Revolucion Filipina (1924) and

LCC SILVERCREST SENIOR HIGH SCHOOL

Commonwealth Literary Contest in 1940. Historical writings from 1900s to

Dr. Lumbera has been a recipient of numerous awards, including the

LCC SILVERCREST SENIOR HIGH SCHOOL

Literary Genre Reflecting Unique Batangueno Traits

LCC SILVERCREST SENIOR HIGH SCHOOL

The Batangueña is the subject of numerous traditional songs from

LCC SILVERCREST SENIOR HIGH SCHOOL

LCC SILVERCREST SENIOR HIGH SCHOOL

Religiosity (Strong Faith in God) is one of the sterling qualities of Batangueños,

Batangueños take a positive way of looking at misfortunes. They take them as

LCC SILVERCREST SENIOR HIGH SCHOOL

In marriage and courtship, honor and faithfulness is the essence of a

LCC SILVERCREST SENIOR HIGH SCHOOL

It is accepted by the inhabitants that everybody’s daily activities are guided by

LCC SILVERCREST SENIOR HIGH SCHOOL

practices reflected in the folktales that have been identified

LCC SILVERCREST SENIOR HIGH SCHOOL

Bituing marikit sa gabi ng buhay

Natanim sa puso ko yaong isang pag-ibig

LCC SILVERCREST SENIOR HIGH SCHOOL

BARONG TAGALOG: Carrying the Style and Wearing a True Legacy