St.

Paul University Dumaguete

Dumaguete City
GRADUATE SCHOOL

STEPHANIE F. ALOB 03/ 08/2020

FAITH, LOVE , TIME , AND DR. LAZARO
by: Gregorio C. Brillantes
CHARACTER ANALYSIS

DR. LAZARO BEN

1. Sees everything in darkness

2. Detached, indifferent
3. Pessimistic
4. Alienated because of his lack
of faith, love, and time - which
is why he remains detached
and in the darkness
1. God-fearing
5. Lazaro no longer has faith in 2. Kind
God 3. Sincere
6. Lost his faith because of all 4. His son wants to be in the
the suffering he’s witnessed service of God by
because of his profession
7. his job takes up his time from
becoming a priest.
his family 5. Fervent faith, could
8. However, he also only goes influence his father
through the motions of day to
day life
9. Struggling with God and
Family
10. Tries to rekindle his
relationships
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PLOT DIAGRAM OF FAITH, LOVE, TIME AND DR.

LAZARO

EXPOSITION- From the upstairs veranda, Dr. Lazaro had a view of stars, the country darkness, and the lights
on the distant highway at the edge of the town. His wife came to tell him he was wanted on the phone. Dr.
Lazaro reached for the phone. The man was calling from a service station outside the town. He was Pedro
Esteban, the brother of the doctor’s tenant in Namblan

RISING ACTION - The man’s week-old child had a fever, a bluish skin; its mouth would not open to suckle.
They could not take the baby to the poblacion; they would not dare to move it; its body turned rigid when
touched. Ben, Dr. Lazaro’s son, drove for him. While on the way, they had conversation about Ben’s plan on
what career to pursue. Dr. Lazaro wanted his son to be a doctor too.

CLIMAX - Dr. Lazaro and Ben reached the gas station, where the Dr. agreed to meet Esteban. They went to
Esteban’s house and saw the sick child bundled with blankets. Dr. Lazaro made cursory check- skin dry,
turning cold, breathing shallow, heartbeat fast and irregular. He removed the blanket and injected a whole
ampule to check the tonic spasms, tried to draw air into the faltering lungs, pressing and releasing the chest;
but even as he worked to rescue the child the bluish color of the face began to turn gray.

FALLING ACTION: Falling action Dr. Lazaro shooked his head as a sign of there’s nothing more he can do
to save the child. Ben knelt beside the child and baptized it. Esteban’s wife began to cry.

FALLING ACTION: Falling action Dr. Lazaro shooked his head as a sign of there’s nothing more he can do
to save the child. Ben knelt beside the child and baptized it. Esteban’s wife began to cry.

DENOUEMENT: When Dr. Lazaro and Ben are on their way home, Dr. Lazaro realized everything around
him- the town, the people, his family, his faith, love and time that it was long gone.

CONFLICT : Conflict Man vs. Man Man vs. Circumstances

SUMMARY OF FAITH, LOVE, TIME, AND DR. LAZARO

 St. Paul University Dumaguete
Dumaguete City
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by: Gregorio C. Brillantes

Faith, Love, Time, and Dr. Lazaro by Gregorio Brillantes is a story about a country doctor who doesn’t
believe in faith, love, and time. Dr. Lazaro, the protagonist of this story, doubted his faith because of
events such as his eldest son’s death and the experiences he encounters while working as a country
doctor. He chose to immerse himself in his job, to the point wherein everything is routine, and he is like a
robot, seemingly indifferent and emotionless towards everything, even to his own family.
Dr. Lazaro and his young son, Ben, are called in the middle of the night to help a poor family
whose newborn baby who has a terminal case of tetanus. The journey they take towards the family’s
home, however, becomes meaningful most especially to Dr. Lazaro, whose beliefs and disbeliefs about
God, faith, hope, love, and time seem to haunt him with an intensity – all because he sees a wide chasm
between him and his son in terms of how they see life. Dr. Lazaro has lost so much faith in God and life
due to the life he has led, while Ben, who is intent on becoming a priest, seems so positive and optimistic
with life.
The theme of this story leans on faith and how it changes a person. Doubts in your beliefs will
rise when certain events happen in your life. Dr. Lazaro’s character is directly affected by the events that
happened in his life. The numerous cases he handled, where life seemed so fragile, got him cold-hearted,
when the profession he loved became an obligation over time and had him doubting his faith to the
Almighty. But what made him seemingly indifferent from the sufferings all around him was the death of
his eldest son and how he died. The eldest son committed suicide and from then on, the very thought of
him, pains him. So, to live despite the pain he became indifferent. His faith in the Lord came crumbling
down from the loss of his son and the sufferings the patients in the county hospital experienced that it
affected how he treated others and how he treated his family. It was Dr. Lazaro’s circumstances that made
him who he was in the story and why he was insistent that his son become an engineer or a doctor rather
than become a priest or become more religious like his mother.
Dr. Lazaro sees Ben as this person full of light and hope that reminds him of his younger self,
before the cruelty of life changed his views and made the idea of God an abstract concept and a
mysterious being, causing their relationship to drift further and further apart. The ride on the way to the
patient is one of the few times where Dr. Lazaro had a chance to talk to Ben and really get to see his
character. You can see how Lazaro was cynical of Ben’s worldviews and his profound faith in the Lord
through his responses to the conversation that they had. Yet when Lazaro saw the lay baptism Ben
performed for the dead patient, his psyche was startled by how much of a believer his son, how much
good his son has for the world around him. It was at that point where he was reminiscent of how he was
before everything.
The story of Dr. Lazaro is a story that I can relate to. The mysterious ways of the Lord are a great
factor in my relationship with Him as well. It is because of the obscurity of His actions that faith is tested,
and our character adapts to life that different people lead. In the end, despite being shown the light that
Ben exudes, Lazaro doesn’t change his character. Indifference has become part of his character already
and it isn’t easy to let go of what is accustomed. For Lazaro, what happened that night is not as
traumatizing or as eye-opening compared to the what happened in his past to change his faith and outlook
in life back to the way it was. Faith needs something drastic for it to be shaken and torn apart for it is a
big part of you that makes you who you are as a person.

FEMINIST THEORY

Dr. Lazaro’s wife has been portrayed as that typical type of Filipina – placid, religious, a
subordinate to his husband and someone who is expected to tend to his family and their ordinary
household chores. Like that of an ordinary Filipina, she maintains hobbies like knitting. In the story, their
marriage seemed distant and strained. Nevertheless, her wife maintains her respect towards him and
continues to look after her husband. While his husband equally looks up to her wife with awe and
amusement on how his wife is able to handle his religious commitments and the needs of her family.

As a mother, she seems to have a close bond with his son, Ben. Her relationship with her son
appears more open as Ben can confide to her things he could not tell to his own father.

SUMMARY OF “THE WEDDING DANCE”

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By: Amador T. Daguio

Should you fight for the one you love? Or should you let go and take all of the hurt for
the other’s sake?

There was a couple named Awiyao and Lumnay. They were married for a long time but
Awiyao her husband has to marry another girl named Madulimay because Lumnay cannot bear a
child. On the night of the wedding of Awiyao and Madulimay, Awiyao went to his and Lumnay's
house where they used to live to personally invite his ex-wife to join the dance but Lumnay
refuses to join. Lumnay is the best dancer in their tribe.
They had a heart-to-heart talk about their separation, and on their conversation they found
out that the couple still had a thing on each other. They still love each other but they have to
separate because their tribe’s custom is-- every man in that tribe should have one (or more) child
that would carry his name and if his wife cannot give him a child he can marry another woman.
It's a man's necessity to have a child.
Lumnay can hardly let go of her husband. The two both agreed that if Awiyao's second
marriage did not work, he will go back to Lumnay's arms and this was sealed by the beads that
Lumnay will keep. Then Awiyao goes back to the wedding because someone is calling him
already. After being fetched by others, Lumnay decided to go to the wedding not to dance or to
join the celebration but to stop the wedding. She decided to break the unwritten law of her tribe,
but when she is near all her guts to stop the wedding suddenly disappeared. She did not have the
courage to break into the wedding feast. Lumnay walked away from the dancing ground, away
from the village. She went to the mountain instead and in the mountain is where she diverted all
her bitterness in her and she partly reminisce their story of Awiyao.

The Wedding Dance" by Amador Daguio, is a short story about a husband and wife,
Awiyao and Lumnay, who had been married for seven years. In spite of being in love with his
wife Awiyao feels the need to marry again in order to have a son. At his second marriage
celebration, Awiyao goes to check on Lumnay, knowing she was upset. Awiyao thought the
answer to Lumnay's sorrow would be to have her join the other women during the wedding
dance. Lumnay was in fact at his wedding, but left. She could not stand the idea of her husband
marrying another woman because she could not give him children.
The setting is a mountain village of the Philippines where Awiyao has been remarried.
Awiyao and Lumnay most likely to belong to the Igorot people who inhabit the mountain areas
of Luzon In “The Wedding Dance”, the author draws upon the culture of his ancestors to explore
Filipino traditions along with the universal themes of love, suffering, and societal
expectations.This story gained from the author’s life among the Igorots of North Luzon – the
practices of divorce due to a childless marriage. The triumph of culture and tradition over
personal love is emphasized in the story which lets the reader see the way of life and culture of
the tribal people of Northern Luzon. Marriage in this culture was seen as more or less a contract
between a man and a woman for the purposes of producing children. If after seven harvests,
there is no child, either part is free to break the bond and seek another spouse. A childless couple
was seen as a very sad matter and often the masculinity of the husband was considered suspect.

Awiyao has left his wife Lumnay, whom he loved very much.However, she couldn’t give
him a child. He has now married Madulimay in hopes to have a son, who will continue his
legacy.This is something Awiyao expresses as important in his culture.However, Lumnay is
upset because she loves Awiyao and doesn’t
want this separation.
 St. Paul University Dumaguete
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The conflict here is Man vs. Society .The lead characters have to follow their tribe’s
custom , and it is resolved when they had a heart-to heart talk that they should separate and
continue with their separate lives. And if Awiyao's second marriage will not work he will come
back to Lumnay's arms again. They should follow their tribe's custom and on the part of Awiyao
he shows that he really wanted to have a child to follow his name but there is a bit hesitance on
Lumnay's part.
If you truly love a person, you must let them be happy: Have you ever heard the saying
“if you love someone, let them go”? The story of Lumnay and Awiyao wrestles with this
difficult issue. Despite how upsetting it is to Lumnay, she must let Awiyao go, not only because
of their culture, but also because it is clear that he will not be happy without a child.
This is a chronological structure which first establishes the setting and conflict, then
follows the rising action through to a climax (the peak of the action and turning point), and
concludes with a denouement (a wrapping up of loose ends). As seen in the story, it evolved
from presenting the setting and it goes on through the established plan of achieving the climax
then the end.
A flashback is an interjected scene that takes the narrative back in time from the current
point in the story. Flashbacks are often used to recount events that happened before the story's
primary sequence of events to fill in crucial backstory. Flashbacks are also used when the story
narrated how the two met and how they became together. The story flashbacked to the history
of the two main characters as a way of presenting the story.
 St. Paul University Dumaguete
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PLOT DIAGRAM OF THE WEDDING DANCE

EXPOSITION- The story started when Awiyao went ti his and Lumnay's house to invite his ex-wife to join
the dance.

RISING ACTION - Things get complicated when start talking, and she can't let go of Awiyao.

CLIMAX - So much intense felt in the story when they both stated that they do not want any other man or
women for them. There so much intense formed when they stated that they still love each other.

FALLING ACTION: When Lumnay and Awiyao have to follow their Tribe's Custom.

DENOUEMENT: When Awiyao was fetched by his friends and he had no choice but to go back to the
wedding.

CHARACTER ANALYSIS OF THE WEDDING DANCE

 St. Paul University Dumaguete
Dumaguete City
GRADUATE SCHOOL

LUMNAY

The wife of Awiyao.

The woman who was left by
her husband (Awiyao)
because she cannot bear a
child.

AWIYAO
The Husband stated in
the short story.
(Wedding dance)
Humorous and
physically fit.

SUMMARY OF SUMMER SOLSTICE

By: Nick Joaquin
 St. Paul University Dumaguete
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The Nick Joaquin’s masterpiece entitling “Summer Solstice”, depicted how

the women empowerment come into existence in Moreta’s Residence. It is about of
getting out of her shell, Dona Guadalupe(Lupeng), an aristocratic yet subservient
wife when her patriarchal conceit exploded from deprivation she has experiencing
under his dominant husband, Don Rafael(Paeng).
The last day of Tatdarin is the same day as St John's Day. The story is set on
St John's Day in the 1850s in the Philippines which is the day of man’s fertility and
likewise a Tadtarin day that corresponds the day of women empowerment
embodying their fertility as well. There was procession that was being participated
by many people in the barrio. The Tadtarin itself is exclusive to the woman
meaning there is no men’s participation. Many men frowned upon the extravagant
dances and plays surrounding the ritual.
The conversation between Guido, Don Paeng’s cousin causes Dona Lupeng
to participate in the last night of the festival, which is the Tatarin ritual. Don Paeng
goes with her and tries to drag her back once the dancing begun, but she runs from
him to the women. The women pushed him away and he got whipped. He has
nothing to do with the liberty of her wife. As the two returned home, Paeng says he
must whip his wife because he loves her and feels that she needs to be put in her
place. To this, she shouts and says she wants to be adored, not respected and orders
him to kiss her feet.

The Summer Solstice was classed as controversial kind of short story

because of the mix of Pagan ritual and Christian rites of passage. The story was
later adapted into a film, “Tatarin”. There were instances in the story and the
movie differs. For further elaboration the table is presented below.

CHARACTER ANALYSIS OF SUMMER SOLSTICE

SUMMER SOLSTICE TATARIN

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Don Paeng -a superior husband -has no mustache that looked

-has mustache representing him as a simple and typical
superiority husband
Dona Lupeng -a wife that is not that -very refined and elegant
submissive -had a sexual relationship with
-a refined woman that did not Guido
commit any affair from other
man
Amda -the Tatarin that described by -the Tatarin that looks very
Dona Lupeng as old and fat seductive , sexy and young
Entoy -a husband that loyal to his -committed a sexual
wife and does not look for relationship with one of the
other affair maids, Kikay
Guido -a young and middle age boy -adult already
-did not make sexual scenes -does not look like as the story
with his aunt described
Others -no participation -made different roles

PLOT ANALYSIS OF SUMMER SOLSTICE

SETTING
SUMMER SOLSTICE TATARIN
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The story happened in 1950’s, summer to be exacted in
the celebration of the Feast Day of Saint John. There are
scopes in the Moreta’s residence and in the procession at
their town’s mini plaza and those happened during the
night.
The film happened in 1950’s as well during the
celebration of the Feast Day of Saint John(summer).
There are shots in many places as rivers, forest-like place
where the women make their rituals and the Moreta’s
residence and procession at their town’s mini plaza and
those happened during the night.

PLOT
 CONFLICT

The conflict that can be depicted in the story ‘Summer Solstice’ is between Dona Lupeng
and her internal sensation. Her struggles over her submissiveness that let Don Paeng ruin her
entire life without even letting her to choose, express her feelings; and her adversion to such
despise.  Lupeng shatters the concept of the suppressed woman when she gains control of her
husband, who kisses her feet at the end of story. This makes it seem as though the internal
conflict was that women are the ones who want to be the rulers of men, as seen in the Tatarin
festival.

 MOTIVATION

The internal conceit of Dona Lupeng started to burst when she had conversation with
Guido, her cousin. It was Guido who became the reason for her to think that she must be adored
and freedom must not be deprived into her.

 TURNING POINT

The sudden change in the story was the instinct of Dona Lupeng from submissive into
independent one when she decided to come with the procession that even her husband could not
stopped her.

 CLIMAX

Dona Lupeng had her way to go further into Tadtarin and set aside all the objections of
her husband. It is when all she felt was independence in every matter. She ignored her husband as
she watched at the dancers with fascination and loosened her hair and followed them. It was the
stage when alter ego of Dona Lupeng goes beyond the submissive and refined personality of the
woman.

 DENOUEMENT

The unraveling part of the story was when the women in Tadtarin made their ritual chants
and went back to their respective homes. Don Paeng welcomed her wife with coldness because
his anger was overflowing due to the latter’s behavior as a lewd woman at that night.

 RESOLUTION

Don Paeng attempted to whip her wife for the malady she possessed that night. They
conversed to each other and they have thrown out their arguments. For Dona Lupeng, there would
be no peace between them if Don Paeng will not declare what he really feels.
Then Don Paeng conceded his adoration to his wife that he worship her, the air that she
breathe and the ground she tread is holy to him, that he is her dog and slave. Don Paeng's
submission to Doña Lupeng and the portrayal of women's reproductive role that made them
"rulers of menAt last, despise of Dona Lupeng was cut off and she out maneuver her husband
through commanding to kiss her foot that conduces her success.
SUMMARY OF THE CASK OF AMONTILLADO
By: Edgar Allan Poe

How It All Goes Down

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The story's unreliable narrator, Montresor, tells the story of the day that he took his
revenge on Fortunato, a fellow nobleman, to an unspecified person who knows him very well.
Angry over some unspecified insult, he plots to murder his friend during Carnival when the man
is drunk, dizzy, and wearing a jester's motley.
He baits Fortunato by telling him he has obtained what he believes to be a pipe of a rare
vintage of Amontillado. He claims he wants his friend's expert opinion on the subject. Fortunato
goes with Montresor to the wine cellars of the latter's palazzo, where they wander in
the catacombs. Montresor offers wine (first Medoc, then De Grave) to Fortunato. At one point,
Fortunato makes an elaborate, grotesque gesture with an upraised wine bottle. When Montresor
appears not to recognize the gesture, Fortunato asks, "You are not of the masons?" Montresor
says he is, and when Fortunato, disbelieving, requests a sign, Montresor displays a trowel he had
been hiding.
Montresor warns Fortunato, who has a bad cough, of the damp, and suggests they go
back; Fortunato insists on continuing, claiming that "[he] shall not die of a cough." During their
walk, Montresor mentions his family coat of arms: a golden foot in a blue background crushing a
snake whose fangs are embedded in the foot's heel, with the motto Nemo me impune
lacessit ("No one insults me with impunity"). When they come to a niche, Montresor tells his
victim that the Amontillado is within. Fortunato enters and, drunk and unsuspecting, does not
resist as Montresor quickly chains him to the wall. Montresor then declares that, since Fortunato
won't go back, he must "positively leave".
Montresor walls up the niche, entombing his friend alive. At first, Fortunato, who sobers
up faster than Montresor anticipated he would, shakes the chains, trying to escape. Fortunato
then screams for help, but Montresor mocks his cries, knowing nobody can hear them. Fortunato
laughs weakly and tries to pretend that he is the subject of a joke and that people will be waiting
for him (including the Lady Fortunato). As the murderer finishes the topmost row of stones,
Fortunato wails, "For the love of God, Montresor!" Montresor replies, "Yes, for the love of
God!" He listens for a reply but hears only the jester's bells ringing. Before placing the last stone,
he drops a burning torch through the gap. He claims that he feels sick at heart, but dismisses this
reaction as an effect of the dampness of the catacombs.
In the last few sentences, Montresor reveals that in the 50 years since that night, he has never
been caught, and Fortunato's body still hangs from its chains in the niche where he left it. The
murderer concludes: Requiescat In Pace! ("May he rest in peace!").

THE CASK OF AMONTILLADO PLOT ANALYSIS

 St. Paul University Dumaguete
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Most good stories start with a fundamental list of ingredients: the initial situation, conflict,
complication, climax, suspense, denouement, and conclusion. Great writers sometimes shake up
the recipe and add some spice.

Initial Situation

An insult, and a vow of revenge

Fortunato and Montresor have a history, and a painful one at that. Fortunato has wounded
Montresor a “thousand” times. Montresor never complains. But one day, Fortunato goes too far:
he insults Montresor, and Montresor vows revenge.

Conflict

How to make things right – forever

For Montresor to revenge himself for Fortunato’s insult, he has to get away with it – if Fortunato
can revenge him back, then Montresor has lost. The punishment must be permanent − Fortunato
has to feel it, and he has to know it’s coming from Montresor.

Complication

It’s almost too easy…

There really isn’t much complication. After a few carefully dropped hints from Montresor (think
“Amontillado” and “Luchesi”), Fortunato insists on following Montresor down into the
underground graveyard of your worst nightmares. Montresor baits him and plays with him, but
Fortunato never considers turning back until it’s way too late.

Climax

Trapped in a conveniently man-sized space!

Montresor brings up Luchesi, Fortunato calls Luchesi an “ignoramus,” and boom! He’s chained
inside an upright casket in the foulest depths of the catacomb! That’s the story’s big, explosive
moment.

Suspense

Brick by brick by brick…

Montresor is building a wall of suspense, especially if you are Fortunato. Fortunato’s watching
himself being bricked in, waiting, breathlessly to see if this is some kind of really creepy carnival
joke.

Denouement

The final brick

After Montresor puts in the final brick, the suspense is dissolved. He’s heard the pitiful jingle of
Fortunato’s bells, and it means nothing to him. As soon as the air is used up in the tiny
brick casket, Fortunato will be dead.

Conclusion
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Looking back

It’s impossible to know how old Montresor is when he kills Fortunato, but in the second to the
last line of the story, we learn that the murder happened fifty years ago. So Montresor is
probably pushing eighty when he’s telling the story. And he could be far more ancient. More
importantly, this conclusion lets us know that Montresor has gotten away with his crime so far.
His vengeance has been a success, and he wants us to know it.

The Cask of Amontillado Setting

Where It All Goes Down

An underground catacomb, somewhere in Italy, during the carnival season

The setting in “The Cask,” and in most Horror or Gothic Fiction, has a special purpose: to
suggest freedom or confinement, in harmony or opposition to the freedom or confinement of the
characters. This is called the “Gothic Interior.” Most people go back and forth between feeling
free and feeling trapped. The Gothic Interior is meant to make us hyperaware of these emotions
through careful attention to the setting. 

When we look at the settings of “The Cask,” we can see that the story has a distinct movement
from freedom to confinement. 

First, let’s start with the country. Italy doesn’t directly factor into this formula of the Gothic
Interior, at least not in an obvious way. It might have something to do with the guy who wrote
the first explicitly “Gothic” story, The Castle of Otranto: A Gothic Story.That guy is Horace
Walpole, and when he first published Otranto, he claimed that it was a translation of an old
Italian manuscript he found. When the story became a huge success, he confessed that he wrote it
himself. 

Not so coincidentally, Otranto has much to do with freedom and confinement. In a nutshell, it’s

about a giant gold helmet falling from the sky and trapping a guy underneath it. So, the Italian
setting is probably Poe’s nod to Walpole.

The carnival season and the Montresor family catacomb are a bit more direct. The carnival is a
literal celebration of freedom, which both Montresor and Fortunato are participating in at the
beginning of the story.

As they journey through the catacomb, Montresor and Fortunato move into smaller and smaller −
and fouler and fouler − spaces. This suggesting that, as they travel farther away from fresh air,
they are also moving further away from freedom. 

Fortunato is eventually trapped in a space that represents the opposite of freedom: he’s chained
up and bricked inside a man-sized crypt with no air and no way out. You can certainly argue that
Montresor presents a contrast to Fortunato’s fate in that he finds freedom at the end of the story:
he is alive.

Montresor is free to do as he wishes. Ironically, what he wishes to do is tell this story. Which
means that the story has him trapped. He can’t forget it, and he has to talk about it. In his mind,
he’s still down there in the hole with Fortunato.
T