THE HISTORICAL BACKGROUND
PHILIPPINE LITERATURE
OF
Francisco Balagtas y de la Cruz/ Francisco
Balagtas or Baltazar
Definition of Literature
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Literature, a body of written works. It is
creative and imaginative writings.
Literature may be classified according to
a variety of systems, including language,
national origin, historical period, genre,
and subject matter.
Why do we need to study the Philippine
Literature?
•
•
•
•
•
•
•
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We study literature so that we can better
appreciate our literary heritage.
Because of ENJOYMENT
IMAGINATION either fiction or nonfiction and INSPIRATION ex. FABLES
VICARIOUS experiences
For UNDERSTANDING and EMPATHY
Cultural HERITAGE
MORAL REASONING
Literary and Artistic Preferences – one
way of interacting.
Academic value of Literature to Students
1. READING/ TO READ
2. WRITING – read and listen a lot for the
best choice of words in writing such piece
like essay, stories, etc.
3. Content and areas subjects – more than
10 references
4. Art appreciation – teachers help to say a
story.
GENERAL CLASSIFICATIONS
Fiction
- short stories, novels, fables, drama, and
poetry
• product of imagination that an author
carries in his mind.
• Has many genres such as romance,
humor, science, fiction, thriller, etc.
Non-fiction
• Process of writing information content
that is based on some facts.
ELEMENTS OF SHORT STORY
✓ Conflict – maybe person against person;
human to nature; person against self;
and combinations into these times.
External Conflict – Adventure story which
emphasizes a differ.
Internal Conflict – occurs when a character in
literature
experiences
tension
within
themselves.
✓ Plot
✓ Foreshadowing
✓ Characterization – physical description
of a character; a description of another
character.
✓ POV (Point of View)
1st Person Narrative – own words ex. 1
said…; reasonably what expected to know.
3rd Person Narrator – omniscient; any
person more that person can tell.
✓ Tone – writers’ attitude; sorrowful,
sentimental,
impersonal,
angry,
sympathetic, etc.
✓ Setting of the meeting – time and place;
habitats
✓ Atmosphere – integral part
✓ Symbol – represent or suggest a
relationship; in fiction, it represent
abstract ideas.
✓ Theme
✓ Analysis of the short story
Literature and History
• Literature and history are closely
interrelated. In discovering the history of
a race, the feelings, aspirations, customs
and traditions of a people are sure to be
included...
and
these
feelings,
aspirations, customs, and traditions that
are written is literature. History can also
be written and this too, is literature.
• Literary Compositions That Have
Influenced the World
1. The bible or sacred writings - Became the
basis of Christianity originating from
Palestine and Greece
2. Koran - The Muslim bible from Arabia
3. Iliad and the odyssey - Have been the
source of MYTHS and LEGENDS of
GREECE. Written by homer.
4. Mahabharata - Longest epic of the world.
Contains the history of RELIGION in
INDIA
5. Canterbury tale - Depicts the religion and
customs of the English in early days/
originated from England and was writer
by Goffrey Chaucer
6. Uncle tom's cabin - By Harriet Beecher
Stowe of the US. Depicted the sad fate of
SLAVES; this became the BASIS OF
DEMOCRACY later.
7. Divine comedy - By Dante Alighieri of
ITALY. Shows the RELIGION AND
CUSTOMS of the early ITALIANS.
8. El Cid Compeador - Shows the cultural
characteristics of the SPANIARDS and
their national history.
9. Songs of Roland - Includes DOS PARES
and RONCESVALLES of France. I tell
about the GOLDEN AGE OF FRANCE
10. Book of the days - Written by Confucius;
became the BASIS of the CHRISTIAN
RELIGION
11. One thousand and one nights/ Arabian
nights - From ARABIA and PERSIA; this
shows the ways of GOVERNMENT of
INDUSTRIES and pf the SOCIETY of the
Arabs and Persians
General Types of Literature
Literature can generally be divided into
two types; prose and poetry. Prose consists of
those written within the common flow of
conversation in sentences and paragraphs,
while poetry refers to those expressions in
verse, with measure and rhyme, line and stanza
and has a more melodious tone.
DRAMA and KINDS OF DRAMA
DRAMA came from the Greek word
“dran”, which means “to act” or “to do” in the
early 16th century. A drama is defined as a
piece of literature of which the intended purpose
is to be performed in front of an audience.
Drama is the gateway into the
wonderland of “Let’s pretend”. Most of you will
probably look back upon reading and acting of
plays as the most interesting and enjoyable part
of your school course. A good play lets you
stand on the threshold of a world different from
your own.
A drama introduces you to a great variety
of people, for dramatics have the power of
creating characters who seem as alive as the
people one meets every day.
Drama helps to draw together into one
great brotherhood all the people of the world. It
does this by picturing to us persons of various
countries, showing how much alike people are.
No matter how widely dress, manners, and
languages may vary, there is one thing that
never changes and that is human nature.
Kinds of Drama
1. TRAGEDY - A tragedy is a play in which the
leading character is overcome by trouble of
some kind. Example: Romeo and Juliet;
Anak; Corazon Ang Unang Aswang.
2. COMEDY - A comedy is a play in which the
leading character overcomes the obstacles
placed in his way and wins in the conflict; thus a
comedy ends happily. Examples: Petrang
Kabayo; Kimmy Dora
3. FARCE - A farce is a comedy in which the
situations are too ridiculously to be true, the
characters are so exaggerated that they seem
to be caricatures, and the motives are absurd
and undignified. The situations are beyond
reality. For example: The Taming of the
Shrew; Ang Babae sa Septic Tank
4. PANTOMIME - A pantomime is a play in
which the story is told entirely by action. It may
be either a comedy or a tragedy. Other
examples: Beauty and the Beast; Snow
White and the Seven Dwarfs; Peter Pan;
Sleeping Beauty
5. HISTORICAL PLAY - A historical play is one
in which some event of history is dramatized.
Example, Heneral Luna; GOYO Ang Batang
Heneral
6. PUPPET PLAY - A puppet play is one in
which the parts are acted by puppets, or
marionettes. A puppet is a small figure in human
form, constructed with jointed limbs, which are
made to move by means of wires operated by
someone from either above or below the stage.
For example: Carillo
7. PLAYS OF FANTASY - In a play of fantasy,
the action could not take place in real life, but
only in the imagination of the writer. Such plays
are full of action that is improbable. For
example: Encantadia
Henrik Ibsen
- ” Father of modern drama”-- he helped
found the Modernist movement in drama.
- Controversial & iconoclastic
- Other than Shakespeare, the most
performed playwright in the world.
ELEMENTS OF DRAMA
Most successful playwrights follow the
theories of playwriting and drama that were
established over two thousand years ago by a
man named Aristotle. In his works “The
Poetics”, Aristotle outlined the six elements of
drama in his critical analysis of the classical
Greek tragedy Oedipus Rex written by the
Greek playwright, Sophocles, in the fifth
century B.C. the 6 elements as they are
outlined involve: thought, theme, ideas, action
or plot, characters, language, music and
spectacle.
✓ THOUGHT/THEME/IDEAS - What the
play means as opposed to what happen
(the plot). Sometimes the theme is clearly
stated in the title. It may be started
through dialogue by a character acting as
the playwright’s voice. Or it may be the
theme is less obvious and emerges only
after some study or thought. The abstract
issues and feelings that grow out of the
dramatic action.
✓ ACTION/PLOT - The event of a play; the
story as opposed to the theme; what
happens rather than what it means. The
action and movement in the play begins
from the initial entanglement, through
rising action, climax, and falling action to
resolution.
✓ CHARACTERS - These are the people
presented in the play that are involved in
the perusing plot. Each character should
have their own distinct personality, age,
appearance, beliefs, socio economic
background, and language.
✓ DIALOGUE - 4 Types:
1. COMMON DIALOGUE
2. MONOLOGUE
3. SOLILOQUY
4. ASIDE
✓ LANGUAGE - Language and dialogues
delivered by the characters moves the
plot and action along, provides
exposition, and defines the distinct
characters. Each playwright can create
their own specific style in relationship to
language
choices
they
use
in
establishing character and dialogue.
✓ MUSIC - Music can encompass the
rhythm of dialogue and speeches in a
play or can also mean the aspects of the
melody and music composition as with
musical
theatre.
Each
theatrical
presentation delivers music, rhythm and
melody in its own distinctive manner.
✓ SPECTACLE
- The spectacle in the theatre can involve
all of the aspects of scenery, costumes
and special effects in a production. The
visual elements of the play created a
theatrical
event.
The
qualities
determined by the playwright what create
the world and atmosphere of the play for
the audience’s eye.
- The spectacle in the theatre can involve
all of the aspects of scenery, costumes
and special effects in a production. The
visual elements of the play created a
theatrical
event.
The
qualities
determined by the playwright what create
the world and atmosphere of the play for
the audience’s eye.
Technicalities: Set/ Scenery Clothes/Makeup
Props/Properties Light
CONCLUSION:
YOU
ARE
THE
PROTAGONIST OF YOUR OWN DRAMA Life
is naturally a drama, you have the pen and
paper to compose, the costume to expose,
mouth and hands to execute roles.
PLAY and CHARACTERISTICS OF A PLAY
CHARACTERISTICS OF PLAY
• A play is a story told by means of
dialogue and action on a stage.
• Gestures, costumes, scenery, and
sometimes music accompany the
production of a play to give belief in what
is presented.
Just as a story must possess the following
characteristics so, too, must a play:
1. Characters. The characters are the people
who take part in the action.
2. Setting. The setting tells when and where the
events happen.
3. Plot. The story of the play is told in a series
of incidents arranged in such a way that there is
a beginning, a middle, and an end. This
arrangement of incidents is called the plot.
4. Conflict. The plot must give an account of a
struggle, or conflict. It may be a struggle
between two persons, or between two groups of
people, or the struggle may be a mental one.
The characters group themselves; some aid the
hero and others work against him. At a given
point in the play, these two forces meet, or
clash, and either one or the other wins.
5. Suspense. As the story moves toward the
clashing of the two forces, the account of the
incidents must be told so that each one grows
more and more exciting. The reader should feel
suspense; that is, he should be eager to know
the outcome of the struggle. The playwright,
wishing to create such interest through
suspense, lows down the action here, speeds it
up there, drops occasional hints of what may
happen, and frequently springs a surprise in the
action. When he has made the reader wait long
enough, he brings the two forces together in a
final struggle and lets the stronger win.
6. Climax. With the growth of excitement, the
action becomes more and more intense until the
highest point of interest is reached with the
clashing of the two forces. This is the turning
point of the play, known as the climax. After the
climax, the fortunes of the hero grow either
worse or better.
7. Single Effect. The story of the play must
arouse some feeling in the reader. The emotion
may be that of anger, humor, fear, sadness, or
pity. One emotion, or effect, predominates.
8. Theme. The author has discovered
something about life that he or she thinks is
worth knowing-a general truth that he wishes to
present; or he has made a general observation
that he thinks would be of interest to others. To
pass this truth or this observation, on to others
is the author's chief purpose in writing the play.
This underlying purpose is the theme. Almost
anyone can read a play just for the story's sake,
but to be an intelligent reader, one must be able
to discover the theme, or the author's purpose
in writing the play.
9. Style. Style is the manner in which the play is
written. Words frequently used to describe style
are clear, vivid, simple, forceful, humorous,
polished, individual.
Features that belong to play but do not
belong to a story are these:
1. Stage Properties. Stage properties consist
of all things needed to present the play, such as
costumes, scenery, curtains, and other details.
2. Stage Directions. Stage directions consist of
the instructions that inform the actors how to
present the play. They appear on the printed
page in parentheses.
Here are a few specific stage directions that
should be understood:
a) Down stage- which refers to the front of the
stage.
b) Up stage- which refers to the back of the
stage.
c) Right stage and left stage- which refer to
these directions as viewed from the back of the
stage.
HOW TO READ A PLAY
Following are suggestions that will help you to
read and to study a play:
1. Guess at the plot from the title.
2. Read through rapidly to get the story; then
read again to answer certain questions in
your mind.
3. Determine the kind of play.
4. In one sentence, state the theme, or the
purpose, that the author had in writing the
play.
5. ANSWER THESE QUESTIONS ABOUT
THE BACKGROUND:
a) At what period in history does the action takes
place?
b) Where are the scenes located: town, country,
court, cottage, indoors, out-of- doors?
c) What feeling does the play arouse: pity,
sorrow, happiness, scorn?
6. ANSWER THESE QUESTIONS ABOUT
THE ACTION.
a) Tell the story of the plot by relating the series
of incidents in the order of their happening.
b) Who is the leading character?
c) What characters of circumstances aid the
hero or heroine?
d) Who or what opposes the leading character?
e) At what point does the action begin, grow
more exciting, reach the highest interest, close?
7. ANSWER THE FOLLOWING QUESTIONS:
a) With what situation does the play begin?
b) How are we told what has happened before
the play begins?
c) What devices has the writer used to make you
feel suspense, or eagerness to read the rest of
the play?
d) What causes the action to slow down or to
speed up?
e) At what point does the action reach the
climax?
f) What hints are given to make you anticipate
the incidents before they happen?
8. FROM WHAT CLASS ARE THE
CHARACTERS CHOSEN:
• court life,
• the business world,
• peasant folk,
• squatter area,
• military ranks?
9. WHAT WORDS SEEM BEST TO DESCRIBE
THE MANNER IN WHICH THE
10. WHAT HAVE YOU LEARNED ABOUT THE
AUTHOR FROM THE PLAY?
HOW TO ACT A PLAY?
1. Select a short play and study it.
2. Shorten the play by cutting it, if it is too long;
expand it, if it is too short.
3. Choose a class director.
4. Appoint a stage manager and an assistant
stage manager.
5. Select a committee on scenery and properties
to assist the stage manager. Staging should be
quite simple.
6. Select a committee on costumes. These, too,
should be simple.
7. Divide the class into as many groups as there
are characters. Assign the lines of one character
to each group. Groups should be given a
preference in the choice of characters.
8. Let each group choose its chairman.
9. Let each group meet to discuss the
interpretation of its character. Such topics as
these will help to secure a profitable discussion:
a) The grouping of words and the necessary
pauses to aid the audience in understanding the
play from hearing it only one time.
b) The time and manner of entrances and exits.
c) The position of characters on the stage.
d) Pantomime, or gestures of the body and
expressions of the face, to reveal the thoughts
and feelings of the characters.
10. Let each member of each group practice
lines and actions at home.
11. Let each member try out a part before his
group. The group representative should be
chosen by group vote.
12. Let each group coach its representative.
During the coaching, various members should
read the lines of all other characters.
13. Let group representatives rehearse before
the director and group chair, who continue to
coach the actors.
14. Let the program committee, consisting of the
director and the chairman of each group,
announce the date of the play, prepare the
programs, and invite the guests.
15. Let the play be given. If any representative
is unable to appear, let each group elect a
substitute from its member, who will be fully
prepared to take the part.
HOW TO WRITE A PLAY?
1. Choose a story suitable for dramatization,
one that is full of action.
2. Read it in class; determine the theme, or
purpose.
3. Reproduce the story orally, making the
conversations as natural as possible. Add
dialogue of your own if necessary.
4. Decide upon the characters required to
present the unit of action you have chosen.
5. Divide the story into scenes.
6. Find out where each scene is laid.
7. Determine the stage properties required for
each scene.
8. Pantomime the action.
9. Choose a new title or modify the original title.
10. Choose a play to use as a model of a wellwritten play.
EXAMPLE OF A PLAY IN THEATER: Mantsa
| One-Act Play | Teatro Laragway
CONCLUSION: Acting serves countless
purposes including the following: It reminds us
of times past and forgotten or gives us a glimpse
of a possible future. It portrays our raw,
unadulterated, vulnerable, emotional, and at
times, ugly, horrifying humanity. It provokes
emotion, thought, discussion, awareness, or
even imagination.
UNDERSTANDING OUR ORAL TRADITION
AND TRADITIONAL LITERATURE
Our Traditional Literature
It is the body of ancient stories and
poems that grew out of the human quest to
understand the natural and spiritual world and
that was preserved through time by the oral
tradition of storytelling before being eventually
written down.
Traditional literature includes several
different types of stories, but because they were
all shared orally for so long, they have many
features in common such as the following:
1. Plots are generally shorter than any other
genre of literature because all but the
essential details were omitted during
countless retellings.
2. Action, in turn, is concentrated, which
kept audiences alert and interested.
3. Characters in traditional literature tend to
have only one outstanding quality, which
makes them easy to identify. In this story,
the audience has no doubt about who is
good and who is bad. 4. Settings are
unimportant and are described and referred
to in the vaguest of terms such as "In the
beginning ... " or "Long ago in a land far
away ... "
5. The language, though full of rhythm and
melody,
is
sparse,
since
lengthy
explanations and descriptions were also
pared down or eliminated by countless
retellings.
6. Style is characterized by story beginnings
and endings ("Once upon a time" and "They
lived happily ever after"), motifs of recurrent
features (use of the number 3, as in three
sisters, three wishes), and repetition of
refrains or chants ("Mirror, mirror, on the
wall ...").
7. Themes that are most common in these
stories are good versus evil, the power of
perseverance, and explanations for the ways
of the world.
8. The ending usually has a happy ending.
FOLKORE is still being created particularly in
some remote areas of the country where the
oral tradition remains the chief means of
communication.
White lady - A White Lady (or woman in white)
is a type of female ghost.
Aswang - The name Aswang comes from the
Sanskrit word asura, which means demon.
Kapre - The kapre is a creature that may be
described as a tree giant, being a tall (7–9 ft
(2.1–2.7 m)), dark-coloured, hairy, and
muscular creature.
Tiyanak - The Tiyanak (also Tianak or Tianac)
is a vampiric creature in Philippine mythology
that takes on the form of a toddler or baby.
Multo - The Filipino term for a ghost is " multo ",
which is derived from the Spanish word
"muerto", meaning dead.
Barang - Barang is also a form of sorcery which
user is referred to as "mambabarang" in Filipino
language.
Mangkukulam - term used to the people who
practice sorcery, particularly in curse.
Tikbalang – A mythical creature with a horse
head and human body.
Demonyo - An evil spirit or devil, especially one
thought to possess a person or act as a
tormentor in hell.
A traditional tale, even though written
down, should preserve the narrative, and
storytelling style and should sound as though it
is being told.
Retold versions of traditional tales must
preserve the essential content that made the
stories vital to people for thousands of years and
that makes them relevant to young people
today.
• A traditional tale should preserve the flavor of
the culture or country or its origin (Kabikulan,
Kapampangan,
Kaigorotan,
Kailokoan,
Katagalugan, Kabisayaan) through the use of
colloquialisms, unusual speech patterns, a few
easily understood foreign terms, or proper
names that are common to the culture.
• In illustrated versions of traditional literature,
text, and illustration must be of high quality, and
illustrations must match the tone of the text and
help to capture the essence of the culture of
origin. There are instances when it would be
tempting to base one's evaluation and selection
mainly on illustrations. Not all illustrations are
skillful as writers, however.
• Though simple in other respects, traditional
tales employs rich literary styles. Even very
young children are fascinated by the chants,
stylistic flourishes, and colorful vocabulary that
are characteristic of masterful storytelling.
Types of Traditional Literature
We have chosen the term traditional
literature to refer to the entire body of stories
passed down from ancient times by the oral
tradition. The term folktale is sometimes used in
the same way. The term retold tale refers to a
version of a tale that is obviously based upon an
earlier, well-known tale but in which the
language and bits of the plot have been altered
to modernize or further dramatize the story.
1. Myths - Myths are stories that recount and
explain the origins of the world and the
phenomena of nature. They are sometimes
referred to as creation stories. Myths may have
originated in ancient religious rituals. Example:
How the Moon and the Stars Came to Be
(Bukidnon)
2. Epics - Epics are long stories of human
adventures and heroism recounted in many
episodes. Some epics are told in verse. Epics
are grounded in mythology, and their characters
can be both human and divine. Example:
FOLEPIC Biag ni Lam-ang (“The Life of Lamang”) by Christal Stephanie Maxilom
3. Legends and Tall Tales
- Legends are stories based on both real
or supposedly real individuals and their
marvelous deeds. Legendary characters
and legendary settings are a tantalizing
mix of realism and fantasy, Although the
feats of the heroes of legend defy belief
today, in ancient times these stories were
considered factual. Example: Ang
Alamat ng Pinya (The Legend of the
Pineapple)
- Tall Tales are highly exaggerated
accounts of the exploits of persons, both
real and imagined, so they may be
considered a subcategory of legends,
albeit of much more recent origin. In the
evolution of the tall tale, however, as
each teller embroidered upon the hero's
abilities or deeds, the tales became
outlandishly exaggerated and were
valued more for their humor and
braggadocio than for their factual
content. Legends, in contrast, are more
austere in tone. Example: Biag ni Lamang (“The Life of Lam-ang”)
4. Folktales - Folktales are stories that
grew from the lives and imaginations of
the people, or folk. One of the most
interesting and important characteristics
of these tales is their universality. No
theories
adequately
explain
this
phenomenon, but the folktales of all
cultures, regardless of geography or
other surface cultural differences, are
remarkably similar.
The following is a list of the most
prevalent kinds of folktales. Note that
some folktales have characteristics of
two or more folktale categories.
a. CUMULATIVE - The cumulative tale
uses repetition, accumulation, and
rhythm to make an entertaining story out
of the barest of plots. It is simple, filled
with rhythm and humor. It has a special
appeal to young children.
b. HUMOROUS - The humorous tale
revolves around a character's incredibly
stupid and funny mistakes. These tales
are also known as noodleheads, sillies,
drolls, and numbskulls. They have
endured, no doubt, for their comic appeal
and the guaranteed laughter they evoke.
c. BEAST - Beast tales feature talking
animals and overstated action. Human
characters sometimes occur. Young
children accept and enjoy these talking
animals, and older children can
appreciate the fact that the animals
symbolize humans.
d. MAGIC - Magic tales, also known as
wonder tales or fairy tales, contain
elements of magic or enchantment in
characters, plots, or settings. Fairies,
elves,
pixies,
brownies,
witches,
magicians, genies, and fairy godparents
are pivotal characters in these stories,
and they use magic objects or words to
weave their enchantments. Talking
mirrors, hundred-year naps, glass
palaces, enchanted forests, thumb-sized
heroines, and magic kisses are the stuff
of magic tales.
e. POURQUOI - Pourquoi tales explain
phenomena of nature. The word
Pourquoi is French for why and these
tales can be understood as primitive
explanations for the many "why"
questions early humans asked. The
strong connection between these tales
and myth is obvious, which is why some
folklorists identify profound pourquoi
tales as the simplest myths. Note,
however, that deities play no role in
pourquoi tales as they do in myths.
Moreover, the setting in Pourquoi tales is
earthly, while the setting in myths is the
realm of gods.
f. REALISTIC - Realistic tales are those
whose characters, plot, and setting could
conceivably have occurred. There is no
magic in these tales, and any
exaggeration is limited to the possible.
Only a few realistic tales exist. Example:
Mother Mountain
5. FABLES - The fable is a simple story that
incorporates characters-typically animals
whose actions teach a moral lesson or
universal truth. Often, the moral is stated
at the end of the story. Example: The
Monkey and the Turtle
6. RELIGIOUS STORIES - Stories based
on religious writings or taken intact from
religious manuscripts are considered to
be religious stories. These stories may
recount milestones in the development of
religion and its leadership, or they may
present a piece of religious doctrine in
narrative form. Stories of the latter sort
are usually called parables. Example:
Noah’s Ark (Genesis 6.9– 9.17)
CONCLUSION:
- Many literatures through “word of mouth”
were passed.
- A glimpse of the culture, the traditions
that shall last.
- Remembering its story is not only how we
can preserve its value
- Instead of passing “chismis”, let’s pass
stories with lesson of virtue
- Talk with a purpose, talk to enrich our
literatures
- Elevate the stories of life, let your voice
amplify our culture
- Seek for the latest, seek for our
literatures at its best
Traditional literature, the wealth of
ancient stories accumulated over the course of
human existence, is one of the treasures of our
species. We listen to these endlessly fascinating
stories, we reflect on them, and they help to tell
us who we are. Good companions of our
childhood, they easily become part of us and
stay with us throughout our lives. Every student
deserves access to this wonderful literary
heritage.
I.
GENERAL TYPES OF LITERATURE
PROSE
- Consists of those written within the
common flow of conversation in
sentences and paragraph.
- The ordinary form of spoken or
written language, without metrical
structure as distinguished from poetry
or verse.
- Matter of fact, commonplace, dull
expression, quality, discourse.
- No line breaks
- Use in most everyday writing in
prose form.
- The type language is generally more
straightforward
without
much
decoration.
- Arranged in paragraphs.
There are many types of prose. These
include the following:
a. Novels.
A
long
narrative
divided
into chapters and events are taken from true-tolife stories.
Example: WITHOUT SEEING THE DAWN
by Stevan Javellana
b. Short story. This is a narrative involving one
or more characters, one plot and one
single impression.
Example: THE LAUGHTER OF MY
FATHER by Carlos Bulosan
c. Plays. This is presented on a stage, is
divided into acts and each act has many scenes.
Example: THIRTEEN PLAYS by Wilfredo
M. Guerrero
d. Legends. These are fictitious narratives,
usually about origins.
Example: THE BIKOL LEGEND by Pio
Duran
e. Fables. These are also fictitious and they
deal with animals and inanimate things who
speak and act like people and their purpose is
to enlighten the minds of children to events that
can mold their ways and attitudes.
Example: THE MONKEY AND THE
TURTLE.
Anecdotes. These are merely products of the
writer’s imagination and the main aim is to bring
out lessons to the reader.
Example: THE MOTH AND THE LAMP
g. Essay. This expresses the viewpoint or
opinion of the writer about a particular
problem or event. The best example of this is
the Editorial page of a newspaper.
h. Biography. This deals with the life of a
person which may be about himself, his
autobiography or that of others.
Example: CAYETANO ARELLANO by
Socorro O. Albert
i. News. This is a report of everyday events in
society, government, science and industry, and
accidents, happening nationally or not.
j. Oration. This is a formal treatment of a
subject and is intended to be spoken in public.
It appeals to the intellect, to the will or to the
emotions of the audience.
II.
POETRY
- Refers to those expressions in verse,
with measure and rhymes, lines and
stanza and has a more melodious tone.
- The art of rhythmical composition, written
or spoken, for exciting pleasure by
-
-
beautiful, imaginative or elevated
thoughts.
Literary work in metrical form; verse.
Has line breaks.
Typically reserved for expressing
something in an artistic way.
Tends to be more expressive than prose
with rhythm. Rhyme and comparisons
contributing to a different sound or feel.
Contained in lines which may or may not
be in sentences. Lines are arranged in
stanzas.
There are three types of poetry, and these
are the following:
A. Narrative Poetry.
This form describes important events in life
either real or imaginary.
1. Epic. This is an extended narrative about
heroic exploits often under supernatural control.
Example: THE HARVEST SONG OF
ALIGUYON translated in English by
Amador T. Daguio
2. Metrical Tale. This is a narrative which is
written in verse and can be classified either as a
ballad or a metrical romance.
Examples: BAYANI NG BUKID by Al Perez
HERO OF THE FIELDS by Al Perez
3. Ballads. Of the narrative poems, this is
considered the shortest and simplest. It has a
simple structure and tells of a single incident.
There are also variations of these: love ballads,
war ballads, and sea ballads, humorous, moral,
and historical or mythical ballads. In the early
time, this referred to a song accompanying
a dance.
B. Lyric Poetry.
Originally, this refers to that kind of poetry
meant to be sung to the accompaniment of a
lyre, but now, this applies to any type of poetry
that expresses emotions and feelings of the
poet. They are usually short, simple and easy to
understand.
1. Folksongs (Awiting Bayan). These are
short poems intended to be sung. The
common theme is love, despair, grief,
doubt,
joy,
hope
and
sorrow.
Example: CHIT-CHIRIT-CHIT
2. Sonnets. This is a lyric poem of 14 lines
dealing with an emotion, a feeling, or an
idea. These are two types: the Italian and
the
Shakespearean.
Example:
SANTANG BUDS by Alfonso P. Santos
3. Elegy. This is a lyric poem which
expresses feelings of grief and
melancholy, and whose theme is death.
Example: THE LOVER’S DEATH by
Ricaredo Demetillo
4. Ode. This is a poem of a noble feeling,
expressed with dignity, with no definite
number of syllables or definite number of
lines in a stanza.
5. Psalms (Dalit). This is a song praising
God or the Virgin Mary and containing a
philosophy of life.
6. Awit (Song). These have measures of
twelve syllables (dodecasyllabic) and
slowly sung to the accompaniment of a
guitar
or
banduria.
Example:
FLORANTE AT LAURA by Franciso
Balagtas
7. Corridos (Kuridos). These have
measures of eight syllables (octosyllabic)
and recited to a martial beat.
Example: IBONG ADARNA
C. Dramatic Poetry
1. Comedy. The word comedy comes from
the Greek term “komos” meaning festivity
or revelry. This form usually is light and
written with the purpose of amusing, and
usually has a happy ending.
2. Melodrama. This is usually used in
musical plays with the opera. Today, this
is related to tragedy just as the farce is to
comedy. It arouses immediate and
intense emotion and is usually sad but
there is a happy ending for the principal
character.
3. Tragedy. This involves the hero
struggling mightily against dynamic
forces; he meets death or ruin without
success and satisfaction obtained by the
protagonist in a comedy.
4. Farce. This is an exaggerated comedy. It
seeks to arouse mirth by laughable lines;
situations are too ridiculous to be true;
the characters seem to be caricatures
and the motives undignified and absurd.
5. Social Poems. This form is either purely
comic or tragic and it pictures the life of
today. It may aim to bring about changes
in the social conditions.
Chapter 2
THE PRE-SPANISH PERIOD
Historical Background
Long before the Spaniards and other
foreigners landed or set foot on Philippine
shores, our forefathers already had their own
literature stamped in the history of our race.
Our ancient literature shows our customs
and traditions in everyday life as traced in our
folkstories, old plays and short stories.
Our ancestors also had their own
alphabet which was different from that brought
by the Spaniards. The first alphabet used by our
ancestor was similar to that of the MalayoPolynesian alphabet.
Whatever records our ancestors left were
either burned by the Spanish friars in the belief
that they were works of the devil or were written
on materials that easily perished, like the barks
of trees, dried leaves and bamboo cylinders
which could not have remained undestroyed
even if efforts were made to preserve them.
Other records that remained showed folk
songs that proved the existence of a native
culture truly our own. Some of these were
passed on by word of mouth until they reached
the hands of some publishers or printers who
took interest in printing the manuscripts of the
ancient Filipinos.
Pre-Spanish Literature is Characterized by:
A. Legends
B. Folk tales
C. Epics
D. Folksongs
E. Epigrams, riddles, chants
F. Proverbs and Sayings
A. Legends - Legend, traditional story or
group of stories told about a particular
person
or place. Formerly the
term legend meant
a
tale
about
a saint. Legends resemble folktales in
content; they may include supernatural
beings, elements of mythology, or
explanations of natural phenomena, but
they are associated with a particular
locality or person and are told as a matter
of history.
B. Folk tales - A folktale is an old story
that's been told again and again, often for
generations. If you're interested in
learning more about your heritage, you
might read some folktales from the
country in which your great-greatgrandparents grew up.
- Folktales are stories in the oral tradition,
or tales that people tell each other out
loud, rather than stories in written form.
They're closely related to many
storytelling traditions, including fables,
myths, and fairy tales. Every human
society has its own folktales; these wellknown stories, handed down between
generations, are an important way of
passing along knowledge, information,
and history.
C. Epics - Epic, long narrative poem
recounting heroic deeds. .... literary
usage, the term encompasses both oral
and written compositions.
D. Folk Songs - a song originating among
the people of a country or area, passed
by oral tradition from one singer or
generation to the next, often existing in
several versions, and marked generally
by simple, modal melody and stanzaic,
narrative verse.
Chapter 3
THE SPANISH PERIOD
Historical Background
It is an accepted belief that the Spanish
colonization of the Philippines started in 1565
during the time of Miguel Lopez de Legazpi, the
first Spanish governor-general
in
the
Philippines. Literature started to flourish during
his time. This spurt continued unabated until the
Cavite Revolt in 1872. The Spaniards colonized
the Philippines for more than three centuries.
During these times, many changes occurred in
the lives of Filipinos. They embraced the
Catholic religion, changed their names, and
were baptized.
Their lifestyles changed too. They built
houses mad of stones and bricks, used beautiful
furniture like the piano and used kitchen
utensils. Carriages, trains and boats were used
as means of travel. They held fiestas to honor
the saints, the pope and the governors. They
had cockfights, horse races and the theater as
means of recreation.
This gave rise to the formation of the
different classes of society like the rich and the
landlords. Some Filipinos finished courses like
medicine, law, agriculture and teaching. Many
Filipinos finished their schooling already had
been established.
A. Spanish Influences
Literature
On Philippine
Due to the long period of colonization of the
Philippines by the Spaniards, they have exerted
a strong influence on our literature.
1. The first Filipino alphabet called ALIBATA
was replaced by the Roman alphabet.
2. The teaching of the Christian Doctrine
became the basis of religious practices.
3. The Spanish language which became the
literary language during this time lent many of its
words to our language.
4. European legends and traditions brought
here became assimilated in our songs, corridos,
and moro-moros.
5. Ancient literature was collected and
translated to Tagalog and other dialects.
6. Many grammar books were printed in Filipino,
like Tagalog, Ilocano and Visayan
7. Our periodicals during these times gained a
religious tone.
B. The First Books
1. Doctrina Cristiana (The Christian
Doctrine). This was the first book printed
in the Philippines in 1593 in xylography.
2.
3.
4.
5.
6.
7.
It was written by Fr. Juan de Placencia
and Fr. Domingo Nieva, in Tagalog and
Spanish. It contained the Pater Noster
(Out Father), Ave Maria (Hail Mary),
Regina Coeli (Hail Holy Queen), the Ten
Commandments
of
God,
the
Commandments of the Catholic Church,
the Seven Mortal Sins, How to Confess,
and the Cathecism. Three old original
copies of this book can still be found at
the Vatican, at the Madrid Musem and at
the US Congress. It contains only 87
pages but costs $5,000.0.
Nuestra Señora del Rosario. The
second book printed in the Philippines
was written by Fr. Blancas de San Jose
in 1602, and printed at the UST Printing
Press with the help of Juan de Vera, a
Chinese mestizo. It contains the
biographies of saints, novenas, and
questions and answers on religion.
Libro de los Cuatro Postprimeras de
Hombre (in Spanish and Tagalog).
This is the first book printed in
typography.
Barlaan at Josephat. This is a Biblical
story printed in the Philippines and
translated to Tagalog from Greek by Fr.
Antonio de Borja. It is believed to be the
first Tagalog novel published in the
Philippines even if it is only a translation.
The printed translation has only 556
pages. The Ilocano translation in poetry
was done by Fr. Agustin Mejia.
The Pasion. This is the book about the
life and sufferings of Jesus Christ. It is
read only during Lent. There were 4
versions of this in Tagalog and each
version is according to the name of the
writer. These are the Pilapil version (by
Mariano Pilapil of Bulacan, 1814), the de
Belen version (by Gaspar Aquino de
Belen of Bat. in 1704), the de la Merced
(by Aniceto de la Merced of Norzagaray,
Bulacan in 1856) and the de Guia version
(by Luis de Guia in 1750). Critics are not
agreed whether it is the Pilapil or the de
la Merced version which is the most
popular.
Urbana at Felisa. A book by Modesto
de Castro, the so called Father of
Classic Prose in Tagalog. These are
letters between two sisters Urbana at
Felisa and have influenced greatly the
behavior of people in society because the
letters dealt with good behavior.
Ang Mga Dalit kay Maria (Psalms for
Mary). A collection of songs praising the
Virgin Mary. Fr. Mariano Sevilla, a
Filipino priest, wrote this in 1865 and it
was popular especially during the
Maytime “Flores de Mayo” festival.
C. Literary Composition
1. Arte y Reglas de la Lengua Tagala (Art
and rules of the Tagalog language).
Written by Fr. Blancas de San Jose and
translated to Tagalog by Tomas Pinpin in
1610.
2. Compendio de la Lengua Tagala
(Understanding
the
Tagalog
language). Written by Fr. Gaspar de San
Agustin in 1703.
3. Vocabulario de la Lengua Tagala
(Tagalog vocabulary). The first Tagalog
dictionary written by Fr. Pedro de San
Buenaventura in 1613.
4. Vocabulario de la Lengua Pampanga
(Pampanga vocabulary). The first book
in Pampanga written by Fr. Diego in
1732.
5. Vocabulario de la Lengua Bisaya
(Bisayan vocabulary). The best
language book in Visayan by Mateo
Sanchez in 1711
6. Arte de la Lengua Ilokana (The Art of
the Ilocano language). The first Ilocano
grammar book by Francisco Lopez.
7. Arte de la Lengua Bicolana (The Art of
the Bicol language). The first book in
the Bicol language and written by Fr.
Marcos Lisbon in 1754.
D. Folksongs
Folk songs became widespread in the
Philippines. Each region had its national
song from the lowlands to the mountains
of Luzon, Visayas and Mindanao. Folk
songs truly manifest the artistic feelings
of the Filipinos. They show the Filipinos’
innate appreciation for and love of
beauty. The examples are Leron-Leron
Sinta,
Pamulinawen,
Dandansoy,
Sarong Banggi and Atin Cu Pung
Singsing.
E. Recreational Plays
There are many recreational plays
performed by Filipinos during the
Spanish times. Almost all of them were in
poetic form. Here are examples:
1. Tibag – the word tibag means to
excavate. This ritual was brought
here by the Spaniard to remind the
people about the search of St. Helena
for the Cross on which Jesus died.
2. Lagaylay – this is a special occasion
for the Pilareños of Sorsogon during
Maytime to get together.
- As early as April, the participating ladies
are chosen and sometimes, mothers
volunteer their girls in order to fulfill a vow
made during an illness or for a favor
received.
-
-
In some parts of Bicol, a different
presentation is made but the objective is
the same – praise, respect and offering
of love to the Blessed Cross by St. Helen
on the mound she had dug in.
3. The Cenaculo – this is a dramatic
performance to commemorate the
passion and death of Jesus Christ.
There are two kinds: the Cantada and
Hablada . In the Hablada the lines are
spoken in a more deliberate manner
showing the rhythmic measure of
each verse and the rhyming in each
stanza and is more dignified in theme;
the Cantada is chanted like the
Pasion.
Written in octosyllabic verse, with 8
verses to the stanza. The full length
versions take about 3 nights of staging.
Performers come in costumes with wigs
and performers are carefully chosen for
their virtuous life. One performs the role
of Jesus Christ and another the role of
the Virgin Mary. Many famous Cenaculo
players come from the Tagalog regions
although there are also those from Ilocos,
Pampanga, Bicol and both Sibulanon
and Hiligaynon.
4. Panunuluyan – this is presented
before 12:00 on Christmas Eve. This
is a presentation of the search of the
Virgin Mary and St. Joseph for an inn
wherein to deliver the baby Jesus.
5. The Salubong (or Panubong) - The
Salubong is an Easter play that
dramatizes the meeting of the Risen
Christ and his Mother. It is still
presented in many Philippine towns.
6. Carillo (Shadow Play) – this is a
form of dramatic entertainment
performed on a moonless night during
a town fiesta or on dark nights after a
harvest. This shadow play is made by
projecting cardboard figures before a
lamp against a white sheet. The
figures are moved like marionettes
whose dialogues are produced by
some experts. The dialogues are
drawn from a Corrido or Awit or some
religious play interspersed with
songs. These are called by various
names in different places:
7. Carillo in Manila, Rizal and
Batangas and Laguan; TITRES in
Ilocos Norte, Pangasinan, Bataa,
Capiz and Negros; TITIRI in
Zambales; GAGALO or KIKIMUT in
Pampanga and Tarlac; and ALIALA in
La Union.
8. The Zarzuela – considered the father
of the drama; it is a musical comedy
or melodrama three acts which dealt
with man’s passions and emotions
like love, hate, revenge, cruelty,
avarice or some social or political
proble.
9. The Sainete – this was a short
musical comedy popular during the
18 th century. They were exaggerated
comedies shown between acts of
long plays and were mostly
performed by characters from the
lower classes. Themes were taken
from everyday life scenarios.
F. The Moro-Moro
Like the Cenaculo, the Moro-moro is
presented also on a special stage. This is
performed during town fiestas to
entertain the people and to remind them
of their Christian religion. The plot is
usually the same that of a Christian
princess or a nobleman’s daughter who
is captured by the Mohammedans. The
father organizes a rescue party where
fighting between the Moros and the
Christians ensue.
The Mohammedans are defeated by
some miracle or Divine Intercession and
the Mohammedans are converted to
Christianity. In some instances, the
whole kingdom is baptized and
converted. One example of this is
Prinsipe Rodante.
G. Karagatan
This is a poetic vehicle of a socioreligious nature celebrated during the
death of a person. In this contest, more
or less formal, a ritual is performed based
on a legend about a princess who
dropped her ring into the middle of the
sea and who offered here hand in
marriage to anyone who can retrieve it.
- A
leader
starts
off
with
an
extemporaneous poem announcing the
purpose. He then spins a “lumbo” o
“tabo” marked with a white line. Whoever
comes in the direction of the white line
when the spinning stops gets his turn to
“go into the sea to look for the ring.” This
means a girl will ask him a riddle and if
he is able to answer, he will offer the ring
to the girl.
H. Duplo
The Duplo replace the Karagatan. This is
a poetic joust in speaking and reasoning.
The roles are taken from the Bible and
from proverbs and saying. It is usually
played during wakes for the dead.
I. Balagtasan
This is a poetic joust or a contest of skills
in debate on a particular topic or issue.
This is replaced the DUPLO and is held
to honor Francisco “Balagtas” Baltazar.
J. The Dung-aw
This is a chant in free verse by a
bereaved person or his representative
beside the corpse of the dead. No
definite meter or rhyming scheme is
used. The person chanting it freely
recites in poetic rhythm according to his
feelings, emotions and thoughts. It is
personalized and usually deals with the
life, sufferings and sacrifices of the dead
and includes apologies for his misdeeds.
K. Awit and the Corrido
Some use these two interchangeably
because distinction is not clear.
The corrido and awit are both referred to
as narrative poetry.
Chapter 4
THE PERIOD OF ENLIGHTENMENT (1872 –
1898)
Historical Background
After 300 years of passivity under
Spanish rule, the Filipino spirit reawakened
when 3 priests Gomez, Burgos, Zamora were
guillotined without sufficient evidence of guilt.
This occurred on the 17th of February. This was
buttressed with the spirit of liberalism when the
Philippines opened its doors to world trade and
with the coming of a liberal leader in the person
of Governor Carlos Maria de la Torre.
Spaniards were unable to suppress the
tide of rebellion among the Filipinos. The once
religious spirit transformed itself into one of
nationalism and the Filipinos demanded
changes in the government and in the church.
The Propaganda Movement (1872-1896)
This movement was spearheaded mostly
by the intellectual middle-class man like Jose
Riza, Marcelo H. Del Pilar, Graciano Lopez
Jaena, Antonio Luna, Mariano Lopez, Jose Ma.
Panganiban and Pedro Paterno. The objectives
of this movement were to seek reforms and
changes like the following:
1. To get equal treatment for the Filipino
and the Spaniards under the law.
2. To make the Philippines a colony of
Spain.
3. To restore Filipino representation in the
Spanish Cortes.
4. To Filipinize the parishes
5. To give the Filipinos freedom of speech
of the press, assembly and for redress of
grievances.
Highlights of the Propaganda Movement
There were three principal leaders of the
Propaganda Movement:
Dr. Jose P. Rizal
Jose Protacio Rizal Mercado Alonzo y
Realonda was born on June 19, 1861 at
Calamba, Laguna. His first teacher was his
mother Teodora Alonzo. He studied at the
Ateneo de Manila, started medecine at UST and
finished at the Universidad Central de Madrid.
He also studied at the University of Berlin,
Leipzig and Heidelberg. He died by musketry in
the hands of the Spaniards on December 30,
1896 on charges of sedition and rebellion
against the Spaniards. His pen-name was
Laong Laan and Dimasalang.
His Books and Writings:
1. NOLI ME TANGERE: •This was the novel
that gave spirit to the propaganda
movement and paved the way to the
revolution against Spain. In this book, he
courageously exposed the evils in the
Spanish-run
government
in
the
Philippines.
2. EL FILIBUSTERISMO: This is a sequel
to the NOLI. While the NOLI exposed the
evils in society, the FILI exposed those in
the government and in the church.
3. MI ULTIMO ADIOS (My Last Farewell):
This was a poem by Rizal while he was
incarcerated at Fort Santiago and is one
that can compare favorably with the best
in the world.
4. SOBRE LA INDOLENCIA DE LOS
FILIPINOS (On the Indolence of the
Filipinos): An essay on the so-called
Filipino indolence and an evaluation of
the reasons for such allegations.
5. FILIPINAS DENTRO DE CIEN ANOS
(The Philippines within a Century): An
essay predicting the increasing influence
of the US in the Philippines and the
decreasing interest of Europe here.
6. A LA JUVENTUD FILIPINA (To the
Filipino Youth): A poem Rizal dedicated
to the Filipino youth studying at UST.
7. EL CONSEJO DE LOS DIOSES (The
Council of Gods): An allegorical play
manifesting admiration for Cervantes.
8. JUNTO AL PASIG (Beside the Pasig
River): Written by Rizal when he was 14
years of age.
9. ME PIDEN VERSOS (You asked Me for
Verses)1882 and A LAS FLORES DE
HEIDELBERG (To the Flowers of
Heidelberg):Two poems manifesting
Rizal's unusual depth of emotion.
10. NOTAS A LA OBRA SUCESOS DE LAS
FILIPINAS FOR EL DR. ANTONIO DE
MORGA (Notes on Philippine Events by
Dr. Antonio de Morga): 1889
11. P. JACINTO: MEMORIAS DE UN
ESTUDIANTE DE MANILA (P. Jacinto:
Memoirs of a Student of Manila) 1882
12. DIARIO DE VIAJE DE NORTE
AMERICA (Diary of a Voyage to North
America)
compilation of poems on the oppression
by the priests in the Philippines.
7. LA
SOBERANIA
EN
PILIPINAS
(Sovereignity in the Philippines): This
shows the injustices of the friars to the
Filipinos.
8. FOR TELEFONO (By Telephone)
9. PASIONG DAPAT IPAG-ALAB NG
PUSO NG TAONG BABASA (Passion
that should arouse the hearts of the
readers)
Graciano Lopez Jaena (1856 – 1896)
Marcelo H Del Pilar
Marcelo H. del Pilar is popularly known
for his pen name of Plaridel, Pupdoh, Piping
Dilat and Dolores Manapat. He was born at
Cupang, San Nicolas, Bulacan on August 30,
1850.
Marcelo started schooling at the school
of Mr. Flores then transferred to that of San Jose
before UST.  He established the Diariong
Tagalog in 1882. To avoid banishment, he was
forced to travel to Spain in 1888. He was
assisted by Fr. Serrano Laktaw in publishing a
different Cathecism and Passion Book wherein
they made fun of the priests. Upon his arrival in
Spain, he replaced Graciano Lopez Jaena as
editor of LA SOLIDARIDAD. He died of
tuberculosis in Spain but before he died, he
asked his companions to tell his wife and
children that he was sorry he wasn't able to bid
them goodbye; to tell others about the fate of our
countrymen.
Writings of Marcelo H. Del Pilar
1. PAG-IBIG SA TINUBUANG LUPA (Love
of Country): Published on August 20,
1882, in Diariong Tagalog.
2. MAIINGAT KAYO (Be Careful): A
humorous and sarcastic dig in answer to
Fr. Jose Rodrguez in the novel NOLI of
Rizal. Published in Barcelona in 1888.
*Used Dolores Manapat as pen-name
here
3. DASALAN AT TOCSOHAN (Prayers and
Jokes): Similar to a catechism but
sarcastically done against the parish
priests. Published in Barcelona in 1888.
4. ANG CADAQUILAAN NG DIOS (God's
Goodness): Published in Barcelona. It
was also like a catechism sarcastically
aimed against the parish priests but also
contains a philosophy of the power and
intelligence of God and an appreciation
for and loved for nature.
5. SAGOT SA ESPANYA SA HIBIK NG
PILIPINAS (Answer to Spain on the Plea
of the Filipinos): A poem pleading for
change from Spain.
6. DUPLUHAN... DALIT... MGA BUGTONG
(A poetical contest in narratives
sequence,
psalms,
riddles):
A
A most notable hero and genius of the
Philippines. Born on December 18, 1856 and
died on January 20, 1896. The pride of Jaro,
Iloilo. He wrote 100 speeches which was
published by Remigio Garcia, former bookstore
owner of Manila Filatica and which are still read
up to now by modern Filipinos.
He left the Philippines in 1887 with the
help of Don Claudio Lopez, his rich uncle, in
order to escape punishment from his enemies
and arrived at Valencia, the center of the
Republican movement of the Spaniards. He
moved to Barcelona where he established the
first magazine LA SOLIDARIDAD. This became
the official voice of the ASSOCIACION
HISPANO DE FILIPINAS (a Filipino-Spanish
Association) composed of Filipinos and
Spaniards who worked for reforms in the
Philippines.
He sided with Rizal in the controversy
between Rizal and del Pilar over who should
head the Associacion. He returned to the
Philippines to ask for donations to continue a
new government called EL LATIGO NACIONAL
or PAMBANSANG LATIGO. He died in a charity
hospital in Barcelona on January 20,1896
eleven months before his best friend Rizal shot.
The Works of Graciano Lopez Jaena
1. ANG FRAY BOTOD (Friar Botod): One of
his works in Jaro, Iloilo in 1876, six years
after the Cavite Revolt attacking the friars
in the Philippines. He exposed how some
of the friars were greedy, ambitious and
immoral.
2. LA HIJA DEL FRAIL (The Child of the
Friar) and EVERYTHING IS HAMBUG
(Everything is mere how): Explains the
tragedy of marrying Spaniards.
3. SA MGA PILIPINO 1891: A speech
which aimed to improve the condition of
the Filipinos to become free and
progressive.
4. TALUMPATING
PAGUNITA
KAY
KOLUMBUS
(An
Oration
to
Commemorate Columbus): A speech he
delivered in Madrid on the 39th
anniversary of the discovery of America.
5. EN
HONOR
DEL
PRESIDENTE
MORAYTA DE LA ASSOCIACION
HISPANO FILIPINO 1884: Here he
praised Gen. Morayta for his equal
treatment of the Filipinos.
6. EN HONOR DE LOS ARTISTAS LUNA
Y RESURRECCION HIDALGO 1884: •A
sincere expression of praise for the
paintings of Hidalgo on the condition of
the Filipinos under Spaniards.
7. AMOR A ESPANA O A LAS JOVENES
DE MALOLOS (Love for Spain or To the
Youth of Malolos): The theme is about
how girls were taught Spanish in schools
and whose teachers were the governorsgeneral of the place.
8. EL BANDOLERISMO EN PILIPINAS
(Banditry in the Philippines) Jaena
refuted the existence of banditry in the
Philippines and of how there should be
laws on robbery and other reforms.
9. HONOR EN PILIPINAS (Honor in the
Philippines): The triumphant exposition
of Luna, Resurrecion and Pardo de
Tavera of the thesis that intellect or
knowledge
gives
honor
to
the
Philippines.
10. PAG-ALIS SA BUWIS SA PILIPINAS
(Abolition of Taxes in the Philippines)
11. INSTITUCION
NG
PILIPINAS
(Sufferings of the Philippines): Jaena
refers here to the wrong management of
education in the Philippines 1887.
Other Propagandist
Antonio Luna
Was a Pharmacist. Was banished by the
Spaniards to Spain. Joined the Propaganda
Movement and contributed his writings to LA
SOLIDARIDAD. His pen name was TAGAILOG.
Died at the age of 33 in June 1899, he was put
to death by the soldiers of Aguinaldo because of
his instant rise to fame which became a threat
to Aguinaldo.
Writings of Antonio Luna:
1. NOCHE BUENA (Christmas Eve): It
pictured true Filipino life.
2. SE DEVIERTEN (How They Diverted
Themselves): A dig dance of the
Spaniards where the people were very
crowded.
3. LA TERTULIA FILIPINA (A Filipino
Conference or Feast): Depicts a Filipino
custom which he believed was much
better than the Spanish.
4. POR MADRID (For Madrid): A
denouncement of Spaniards who claim
that the Philippines is colony of Spain but
who think of Filipinos as foreigners when
it comes to collecting taxes for stamps.
5. LA CASA DE HUESPEDES (The
Landlady's House): Depicts a landlady
who looks for boarders not for money but
in order to get a husband for her child.
Mariano Ponce
Became an editor in chief, biographer
and researcher of the Propaganda Movement.
 Used Tikbalang, Kalipulako, and Naning as
pen names.
Writings of Mariano Ponce:
1. MGA ALAMAT NG BULACAN (Legend
of Bulacan): Contains legends, and
folklores of his native town.
2. PAGPUGOT KAY LONGINOS (The
Beheading of Longinus): A play shown at
the plaza of Malolos, Bulacan.
3. SOBRE FILIPINOS (About the Filipinos)
4. ANG MGA PILIPINO SA INDIO-TSINA
(The Filipinos in Indo-China)
Pedro Paterno
Was a scholar, dramatic, researcher and
novelist of the Propaganda Movement. Also
joined the Confraternity of Masons and the
Asociacion Hispano- Pilipino in order to further
the aims of the Movement. Was the first Filipino
writer who escaped censorship of the press
during the last day of the Spanish Colonization.
Writings of Pedro Paterno:
1. NINAY: The first social novel in Spanish
by a Filipino.
2. A MI MADRE (To My Mother): Shows the
importance of a mother especially in the
home.
3. SAMPAGUITA Y POESIAS VARIAS
(Sampaguita and Varied Poems): A
collection of his poems.
Jose Ma. Panganiban
Hid his identity behind his pen name
JOMAPA. Also known for having a photographic
mind. Member of a number of movements for
the country
Writings of Jose Ma. Panganiban:
1. ANG LUPANG TINUBUAN (My Native
Land)
2. ANG AKING BUHAY (My Life)
3. SU PLANO DE ESTUDIO (Your Study
Plan)
4. EL PENSAMIENTO (The Thinking)
Period of Active Revolution (1896-1898)
The Filipinos did not get the reforms
demanded by the propagandists. The
government turned deaf ears to these petitions;
oppression continued and the church and the
government became even more oppressive to
the Filipinos. The good intentions of Spain were
reversed by the friars who were lording it over in
the Philippines.
Because of this, not a few of the Filipinos
affiliated with the La Liga Filipina (a civic
organization suspected of being revolutionary
and which triggered Rizal's banishment to
Dapitan). Like Andres Bonifacio, Emilio Jacinto,
Apolinario Mabini, Jose Palma, and Pio
Valenzuela decided that there was no other way
except to revolt.
The gist of literature contained mostly
accusations against the government and were
meant to arouse the people to unite and to
prepare for independence.
Highlights of the Revolution
The noted leaders of this period were:
Andres Bonifacio
Is best known as the FATHER OF
FILIPINO DEMOCRACY, but more than others,
as the FATHER OF THE KATIPUNAN because
he held in establishing the Kataas-taasan,
Kagalang-galangan Katipunan ng mga Anak ng
Bayan (KKK). Came from a poor family and it is
said that what he learned he got from the school
of experience.
Joined the La Liga Filipina founded by
Rizal in 1892.  Established the Katipunan
which triggered the spirit of freedom especially
when Rizal was banished to Dapitan, Mindanao.
 Better known as the great revolutionary rather
than a writer.
Writings of Andres Bonifacio:
1. ANG DAPAT MABATID NG MGA
TAGALOG (What the Tagalogs Should
Know)
2. KATUNGKULANG GAGAWIN NG MGA
ANAK NG BAYAN (Obligations of Our
Countrymen): This is an outline of
obligations
just
like
the
10
Commandments of God.
3. PAG-IBIG SA TINUBUANG LUPA (Love
of One's Native Land): A poem with a title
similar to that of Marcelo H. Del Pilar.
4. HULING PAALAM (Last Farewell): A
translation of Mi Ultimo Adios of Rizal in
Tagalog.
Emilio Jacinto
Was the intelligent assistant of Andres
Bonifacio in the establishment of the Katipunan.
Called the brains of the katipunan. He edited
kalayaan (Freedom) a Katipunan Newspaper.
Bonifacio withdrew his writing of the Kartilya in
deference to Jacinto's work as secretary of the
Katipunan. His Kartilya was the one followed by
the members of the organization.
Writings of Emilio Jacinto:
1. KARTILYA NG KATIPUNAN (A Primer
Book on the Katipunan)
2. LIWANAG AT DILIM (Light and
Darkness): A collection of essays on
different subjects like freedom, work,
faith, government, love of country.
3. A MI MADRE (To My Mother): A touching
ode to his mother.
4. A LA PATRIA (To My Country): His
masterpiece.
Apolinario Mabini
Is known in literature and history as the
“sublime paralytic and the brains of the
revolution”.
Born in Talaga, Tanauan, Batangas on
July 22, 1864. Became known to his professors
and classmates at Letran and the UST because
of his sharp memory and the simple clothes he
used to wear throughout his schooling. Became
the right-hand of Emilio Aguinaldo when the
latter founded his Republic in Malolos.
Writings of Apolinario Mabini:
1. VERDADERO DECALOGO (The True
Decalogue or Ten Commandments):
This was his masterpiece and his aim
here was to propagate the spirit of
nationalism.
2. EL DESAROLLO Y CAIDA DE LA
REPUBLICA PILIPINA (The Rise and
Fall of the Philippine Republic)
3. SA BAYANG PILIPINO (To the Filipino
Nation)
4. PAHAYAG (News)
Jose Palma
He became popular because of his HIMMO
NACIONAL FILIPINO (The Philippine National
Anthem), which was set by Julian Felipe.  He
was born on Tondo, Manila on June 16, 1876. 
His brother Rafael Palma became the president
of the UP.  He joined the revolution against the
Americans together with Gregorio del Pilar, the
youngest Filipino general who died during the
revolution.
Writings of Jose Palma:
1. MELANCOLIAS
(Melancholies):
A
collection of his poems.
2. DE MI JARDIN (In My Garden): A poem
expressing one's longings for his
sweetheart.
3. HERALDO DE LA REVOLUCION:
Printed the decrees of the Revolutionary
Government, news and works in Tagalog
that aroused nationalism.