21st Century Literature from the
Philippines and the World Unit 5:
Philippine Literature
during the Precolonial Period
Table of Contents
Introduction and Unit Objectives
3
Lesson 1: The Precolonial Period
Warm-up!
Learn about It!
Check Your Understanding
Let’s Step Up!
4
4
5
7
8
Lesson 2: Philippine Folk Narratives
Warm-up!
Learn about It!
Check Your Understanding
Let’s Step Up!
9
9
10
15
16
Lesson 3: Philippine Mythology and Philippine Folk Lyric and Speech
Warm-up!
Learn about It!
Check Your Understanding
Let’s Step Up!
17
17
18
21
22
Lesson 4: Reading Selections and Analyses
Warm-up!
Learn about It!
Check Your Understanding
Let’s Step Up!
23
23
23
30
31
Performance Task
32
Self-Check: How Well Did I Learn?
34
Wrap Up
35
Bibliography
36
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GRADE 11/12 | English
UNIT 5
Philippine Literature during the
Precolonial Period
As a student learning about Philippine literature, you are
fortunate to have samples of precolonial literature that have
survived despite the Spanish colonization that influenced
much of the literature we have today.
The pieces of Philippine precolonial literature that survive
until this day are reflections of our ancestors’ culture and
society. These pieces are ones that were restored as most of
them are oral lores that were shared by early Filipinos in areas
beyond the Spanish colonial administrators.
Unit Objectives
In this unit, you should be able to:
● describe the earliest literary period;
● identify the various literary forms of the precolonial period and their common features;
and
● analyze the literary works that characterize the precolonial period.
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Lesson 1: The Precolonial Period
One of the defining features of the Philippine culture is our
rich literature. Although we have been colonized by a
number of countries, we are fortunate enough to have
these traditions and stories handed down to us.
Warm-up!
Oral Tradition
Divide the class into groups with at least four members. Assign a member to be a “storyteller,”
a “listener or recounter,” and a “recorder.”
Show an English version of a Filipino short story (of about one to two paragraphs long) to the
storyteller and have him or her read and memorize as much as he or she can of it. Without
reading from the paper, the storyteller will retell the story to the listener or recounter only.
The listener can have the story repeated to him or her as many times as needed.
The listener then heads to the recorder to again retell the story. The recorder can also listen
to the story multiple times.
Lastly, the recorder heads to the board and writes the story that he or she has listened to but
in Filipino.
Guide Questions:
● What was challenging about your role as storyteller, listener, or recorder?
● How similar is the recorded story to that of the original? What made it so? What made it
different?
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Learn about It!
Most literary works during the precolonial period
were passed down by word of mouth. This form of
transmission is called oral tradition. But in some
cases, our ancestors were able to make use of a
writing system to pen down some works of literature.
The following are the conventions of oral literature:
1. Common experiences of the community as
subject matter
2. Communal authorship
3. Formulaic repetitions
4. Stereotyping of characters
5. Regular rhythmic and musical devices
However, the early literary written forms of
precolonial Filipinos were destroyed by the Spanish
friars. The literary forms we know now that survived
to this day were restored because of resistance and
geographical isolation.
E. Arsenio Manuel, a literary scholar notable for his studies on Philippine folk literature,
divided Philippine precolonial literature into three, namely the Mythological Age, Heroic Age,
and Folktales from all ages.
Mythological Age
This is the period when our ancestors told stories about the creation of human beings and the
world, natural phenomena, and deities and spirits.
Heroic Age
In this period, the characters in stories evolved. Ordinary mortals and cultural heroes became
the chief subject matter in this period. Epics became a popular genre. They were chanted
during important events in the community to inspire people. These were also performed to
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remind the community of their ideals and values.
Folktales
Philippine folktales are traditional stories that had humans, animals, and even plants as
characters. These are fictional tales that have been modified through successive retellings
before they were finally recorded and written down.
The writing system used by Filipinos during the precolonial period is the baybayin. This was
derived from Kavi, a Javanese (Indonesian) script.
To write, the early Filipinos used palm leaves or bamboo, which they wrote on using knives as
pens and sap from plants and trees as ink. The ancient Filipino script had seventeen basic
syllables composed of three vowels and fourteen consonants. The vowels were a, e/i, and o/u.
The consonants were ba, ka, da/ra, ga, ha, la, ma, na, nga, pa, sa, ta, wa, and ya.
The symbols used could be modified to present different vowel sounds. This could be done
with the use of the kudlit, which may be a short line, a dot, or even an arrowhead placed at the
top or the bottom of the symbol being modified.
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Check Your Understanding
A. Fill in the blanks with the correct term being described.
Description
1. This is the writing system used by Filipinos during the
precolonial period.
2. These are traditional stories that were modified through
successive retellings.
3. These were chanted during special events in the community
to inspire people.
4. This is the period when our ancestors told stories about the
creation of human beings in the world.
5. This is the form of transmission of literature during the
precolonial period.
B. Write True if the statement given is correct and False if it is wrong.
Description
1. The precolonial Filipino writing was derived from a Javanese script.
2. The kudlit is used to modify the present consonant sounds.
3. A convention of oral literature is its singular authorship.
4. The ancient Filipino script had sixteen basic syllables.
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5. There are four known periods of Philippine folk literature according
to E. Arsenio Manuel.
Let’s Step Up!
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Lesson 2: Philippine Folk Narratives
Narratives such as folktales and legends were created to
explain natural phenomena and the origin of things long
before science came to be known.
Warm-up!
Brainstorming
Using a cluster chart, map out the different narrative literary genres that you are familiar with.
Guide questions:
Why do you think these genres are narrative?
Can you give some examples of these genres?
How about some examples from the Philippines?
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Learn about It!
Myths
These are stories that make use of gods,
goddesses, and other fantastical creatures as
characters. These became a means for our
ancestors to explain the occurrence of supernatural
events, the beginning of cultural traditions, and the
existence of mysteries. A myth may also attempt to
explain the origin of the world and of the people.
There are many versions of the creation of the
world, one of which is “The Creation Story” of the
Tagalogs.
The Creation Story
When the world first began, there was no land—there were only the sea and the sky, and
between them is a crow. One day, the bird, which had nowhere to land, grew tired of
flying around, so she stirred up the seas until it threw its waters against the sky. The sky,
in order to restrain the sea, showered upon it many rocks, forming islands until the sea
could no longer rise but instead flow back and forth, making tides. Then the sky ordered
the crow to land on one of the islands to build her nest and to leave the sea and sky in
peace.
Now at this time, the land breeze and the sea breeze were married, and they had a child,
which was a bamboo plant. One day when the bamboo was floating about on the water,
it struck the feet of the crow, who was on the beach. The bird, angry that anything should
strike her, pecked at the bamboo, and out of one section came a man and from the other
a woman.
Then the earthquake called on all the birds and fish to see what should be done with the
man and woman, and it was decided that they should marry. Many children were born to
the couple, and from them came all the different races of people.
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After a while, the parents grew very tired of having so many idle, useless children around.
They wished to get rid of them, but they knew of no place to send them. Time went on,
and the children became so numerous that the parents enjoyed no peace. One day, in
desperation, the father seized a stick and began beating them.
The children became frightened and began to hide. Now it happened that those who
went into the hidden rooms of the house later became the chiefs of the islands, and
those who concealed themselves in the walls became slaves, while those who ran outside
were free men. Those who hid in the stove became dark-skinned people. Those who fled
to the sea were gone many years, and when their children came back, their skins were
white.
Legends
Believed to be historical but cannot be verified as true, legends are stories handed down
through generations. These stories are often about famous persons or events. These may tell
of an encounter with marvelous creatures, which the folks still believe in: fairies, ghosts, water
spirits, the devil, and the like.
Below is the legend “How the Angels Built Lake Lanao” of the Maranaws. This version is
narrated by Gregorio F. Zaide and Mamitua Saber.
How the Angels Built Lake Lanao
Long ago, on the place where Lake Lanao is currently situated, was the powerful
sultanate of Mantapoli. The sultanate’s fame, under the reign of Sultan Abdara Radawi,
was vast and wide because of the expansion of its realm through military conquests and
dynastic marriages.
The world, then, was divided into Sedpan (West) and Sebangan (East), where the
sultanate of Mantapoli belonged to. With its expansion came its increase in population
and power. Hence, the balance between the east and the west was broken.
This unbalance soon caught the attention of Archangel Diabarail (Gabriel to the
Christians), who flew to Eighth heaven and reported to Allah, “My Lord, why did you let
Sebangan become larger and more powerful than Sedpan? Why did you let the earth be
unbalanced?”
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“Why, Diabarail,” replied the Sohara (Allah’s voice), “what is wrong with that?”
“My Lord, Mantapoli’s population is as countless as the particles of sand. If we allow this
unbalanced sultanate to remain, the world might turn upside down.”
“Ah, Diabarail, you show great wisdom with your words, ” commented the Sohara.
“What must we do to prevent this forthcoming catastrophe, my Lord?”
Sohara replied, “Gather all the angels from the Seven-Regions-Beneath-the-Earth and to
the Seven-Regions-in-the-Sky. I will cause a barahana (solar eclipse) and during the
darkness, your angels must move Mantapoli to the center of the earth.”
On Allah’s command, Diabarail rallied all the angels and presented his army to Allah, “My
Lord, we are ready to follow your command.”
The Sohara spoke, “Go and lift the land of Mantapoli from Sebangan.” Diabarail then lead
his army of angels and flew to the east.
In the twinkle of an eye, terrible darkness struck the universe as the sun disappeared.
The angels flew and swooped Mantapoli, lifted it in the air, carrying with it the people,
houses, crops, and its animals. Following the command of Allah, they brought the whole
sultanate at the center of the earth.
From where the sultanate was lifted came a huge basin of deep blue water. This is what
we now call the Lanao Lake.
But the waters deep from the earth kept on flowing, making the water levels rise higher
and higher. The rising tides alarmed Archangel Diabarail, who reported it to Allah.
"My Lord, we have restored balance to the earth, but I fear that the rising tide from
where we moved Mantapoli may drown and swallow Sebangan and your people."
Archangel Diabarail said.
"Summon the Four Winds of the World: Angin Taupan, Angin Besar, Angin Darat, and
Angin Sarsar, command them, in my name, to blow the overflowing waters and make an
outlet."
The Four Winds of the world obeyed Allah's wishes and blew a storm like wind that swept
Sebangan. For two days and two nights, the Four Winds blew in different directions,
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towards different cities but failed to create an outlet.
On the third day, the Four Winds blew their hardest in a different direction. The waves
rolled to Marawi. The Winds blew day in and day out in Marawi until an outlet was
successfully made. This was how the Agus River was made. The water of Lake Lanao now
passes through this river, preventing it from flooding.
Through time, a high cliff from the outlet came about and arose a beautiful waterfall that
came to be known as Maria Cristina. The name that was derived from a famous queen of
Spain.
Folktales
Folktales are prose narratives usually told to amuse or entertain. These are also instructional
in nature, dealing with events set in an indefinite time and space.
Examples of folktales are animal tales or fables and magical tales such as “The Monkey and
the Turtle” (Bilaan) and “The Story of the Orphan Girl” (Subanon).
Epics
An epic is a long narrative poem that describes the adventures of a hero, warrior, god, or king.
It is influenced by the traditions, culture, beliefs, moral code, and attitudes of the people who
created it. The characteristics of a classical epic include the following:
● The main character or protagonist of the story is considered a hero.
● The hero’s actions are presented without bias; the epic presents both the character’s
faults and virtues.
● Epics often involve battles, which reveal the extraordinary strength of the protagonist
as he engages in acts of bravery.
● The setting may span several countries, involve the whole world, or even be set in the
universe.
● Gods and other divine beings are portrayed as having a role in the outcome of events.
Examples of these epics include:
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1. Hinilawod
This is considered as the oldest and longest among the epics of Panay. It narrates the
adventures of three brothers: Humadapnon, Dumalapdap, and Labaw Denggan.
Below is an excerpt of the epic:
With care we shall tell, accurately we shall relate
The story of the three princes who were born
To goddess Alunsina of the Eastern Skies!
Strangely, before the mother could open her eyes
The first boy born became a mature man to her surprise
And she called him Labaw Denggan, radiant as the sunrise!
Absoy-y-y-y-y-y-y-y—
Then followed the birth of Prince Humadapnon
Who immediately became a man, a handsome prince
A mighty warrior, the kingdom has ever seen!
And before the marvelous mother could have a sigh
Came the third son, Dumalapdap, who likewise
Became a man, stately in mien-like a cloudless sky!
2. Ibalon
Somehow similar to Hinilawod, this epic is about three brothers: Baltog, Bantiong, and
Handiong. This epic originated from the Bicol region.
3. Hudhud
This epic tells about the lives of native Ifugao heroes, the most notable of which is Aliguyon of
the village Gonhandan. Aliguyon was endowed with supernatural powers and boundless
energy. He has the ability to travel long distances without needing food and rest. Upon
arriving at his destination, he still has the same energy as he did when he started his journey.
Aliguyon was invincible in battle; he could catch spears in mid-flight and could fight against
many combatants.
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4. Darangan
This epic is about the sentimental and romantic adventures of noble Maranao warriors; the
most famous is about a warrior or prince named Bantugan. Prince Bantugan was the brother
of the chieftain of a village called Bumbaran. Bantugan owned a magic shield, was protected
by divine spirits, and was capable of rising from the dead.
5. Biag ni Lam-Ang
This is an epic that tells the story of Lam-Ang, who exhibits extraordinary abilities even in his
early years. This epic originated from the Ilocos region.
Check Your Understanding
A. Categorize the following statements as pertaining to a folktale, legend, myth, or
epic.
Description
1. These are believed to be historical but cannot be verified as true.
2. This narrative may also attempt to explain the origin of the world
and of the people.
3. These stories are often about famous persons or events.
4. This is a long narrative poem that describes the adventures of a
hero, warrior, god, or king.
5. These are prose narratives usually told to amuse or entertain.
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B. Classify the following titles of Filipino precolonial literature as folktale, legend,
myth, or epic.
The Story of the Orphan Girl
Ibalon
The Creation Story
How the Angels Built Lake Lanao
Legend
Myth
Why Does a Pineapple Have Many Eyes?
Biag ni Lam-Ang
The Monkey and the Turtle
Si Bathala
Epic
Folktale
C. Choose a region or province of your liking or linked to your family lineage and
retell a common folktale, legend, myth, or epic originating from that region or
province.
Let’s Step Up!
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Lesson 3: Philippine Mythology and
Philippine Folk Lyric and Speech
It is interesting to note that even though our country was
colonized, there is a vast collection of precolonial literature
present. These stories, narratives, and lyrics have become a
testament of our undying FIlipino culture.
Warm-up!
Hum that Song
Five students should come to the front of the class. One by one, pick a piece of paper on
which is written the title of any of the following Filipino folk songs:
● Leron Leron Sinta
● Magtanim ay ‘Di Biro
● Tong Tong Tong Pakitong Kitong
● Bahay Kubo
● Paru-parong Bukid
Sing the song whose title is written on the piece of paper you have picked out. If you are not
among the volunteers, listen carefully to each of the songs. Take note of the lyrics.
● What do you notice about them?
● Do you think that the lyrics have underlying meanings and can be taken
metaphorically?
Discuss your thoughts and insights with a partner.
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Learn about It!
The base form of Philippine folk lyric and speech is
poetry.
Poetry is a form of literature that emphasizes rhythm,
metrical structure, and the use of imagery and sound
patterns.
This literary form is organized in stanzas, which are
groups of consecutive lines in a poem, with each stanza
forming a single unit.
Ancient Tagalog Deities
Filipinos practiced worshipping gods and goddesses
during the precolonial period. This practice is known as
animism, which is a belief that souls or spirits exist in
plants, animals, or objects.
Animism comes from the Latin word anima, which,
according to psychologist Carl Jung, means a person’s
inner self or soul.
In the Philippines, deities vary in different regions.
Kaluwalhatian is the term used to refer to the home of
ancient Philippine gods and goddesses.
● Bathala or Bathalang Maykapal is the king of the gods in Tagalog myths. He married a
mortal, with which he had three children: Apolaki (god of war and guardian of the sun),
Mayari (goddess of the moon), and Tala (goddess of the stars).
● Apolaki and Mayari (or Adlaw and Bulan in Visayan) ruled the earth at different times.
This is because of a conflict between them when Bathala died and he did not pass the
title to any of his children.
● Tala is the goddess who tells Mayari that the sun god is gone and that it is safe for her
to come out along with the stars.
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● Amihan is believed to be a bird, which is said to be the first creature that inhabited the
earth. It is linked to the story of creation of the Tagalogs.
● Bakunawa, or the “moon eater,” is the god of the underworld. Believed to have an
image of a serpent or dragon, he is the one responsible for eclipses.
Folk Songs
Folk songs are repetitive and sonorous and have a playful melody. They may be about love
and courtship, a long day’s work, or may be songs sung at a funeral.
“Doon Po Sa Amin” is a song about struggle or hardship, while “Leron Leron Sinta” is a popular
Tagalog folk song about courtship.
Doon Po Sa Amin
Leron Leron Sinta
I
Doon po sa amin
Bayan ng San Roque
May nagkatuwaang
Apat na pulubi
Nagsayaw ang pilay
Umawit ang pipi
Nanood ang bulag
Nakinig ang bingi
II
Doon po sa amin
Maralitang bayan
Nagkatay ng hayop
Niknik ang pangalan
Ang taba po nito
Nang maipatunaw
Ang nakuhang langis
Apat na tapayan
III
Doon po sa amin
Bayan ng Malabon
Leron, Leron, sinta
Buko ng papaya
Dala dala’y buslo
Sisidlan ng sinta
Pagdating sa dulo’y
Nabali ang sanga,
Kapos kapalaran
Humanap ng iba.
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Gumising ka Neneng, tayo’y
manampalok
Dalhin mo ang buslo, sisidlan ng hinog
Pagdating sa dulo’y uunda-undayog
Kumapit ka Neneng, baka ka mahulog.
Halika na Neneng at tayo’y magsimba
At iyong isuot ang baro mo’t saya
Ang baro mo’t sayang pagkaganda-ganda
Kay ganda ng kulay — berde, puti, pula.
Ako’y ibigin mo, lalaking matapang
Ang baril ko’y pito, ang sundang ko’y
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May isang matandang
Nagsaing ng apoy
Palayok ay papel
Papel pati tungtong
Tubig na malamig
Ang iginagatong.
siyam
Ang lalakarin ko’y parte ng dinulang
Isang pinggang pansit ang aking kalaban.
Proverbs
Proverbs or salawikain are short sayings enveloped in rhymed verse that are meant to give
advice to the young, offering words of wisdom or stating how one should live.
Below are some of the sayings that reflect Filipino values and ideologies.
● Huwag magbilang ng sisiw hangga’t ‘di pa napipisa ang itlog.
(Don’t count chicks until the eggs are hatched.)
● Matibay ang walis, palibhasa’y magkabigkis.
(A broom is sturdy because its strands are tightly bound.)
● Hangga’t makitid ang kumot, matutong mamaluktot.
(While the blanket is short, learn how to bend.)
Riddles
Riddles, locally called bugtong, are perplexing questions meant to be guessed or solved. These
are used for entertainment, and they require one to observe, analyze, and imagine to provide
the right answer.
Examples:
Answers:
Nagtago si Pedro, nakalitaw ang ulo.
(Pedro hides, but you can still see his head.)
pako (nail)
Ako ay may kaibigan, kasama ko kahit saan.
anino (shadow)
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(I have a friend who is with me everywhere I go.)
Heto na si Kaka, bubuka-bukaka.
(Here comes Kaka, walking with his legs wide apart.)
gunting (scissors)
Check Your Understanding
A. Give the correct mythological creature being described.
Description
1. She is the goddess who tells Mayari that the sun god is gone
and that it is safe for her to come out along with the stars.
2. He is believed to have an image of a serpent or dragon.
3. She is believed to be the first creature that inhabited the earth.
4. He is the sun god and son of Bathala.
5. He is the king of the gods in Tagalog myths.
B. Give the correct answer to the following riddles.
Bugtong Bugtong
1. Dalawang batong itim, malayo ang nararating.
2. Isa ang pasukan, tatlo ang labasan.
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3. Ako ay may kaibigan, kasama ko kahit saan.
4. Naligo ang kapitan, hindi nabasa ang tiyan.
5. Isang hukbong sundalo, dikit-dikit ang mga ulo.
C. Research a common Filipino folk song and find out its origins and meaning.
Let’s Step Up!
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Lesson 4: Reading Selections and Analyses
When you read literature, you should do more than just
comprehend the plot and characters. This lesson provides a
brief discussion on the analysis of Philippine narratives,
riddles, myths, and epics.
Warm-up!
Review: Story Map
It is important to understand and recall some of the important story elements and parts of a
story plot before going deeper by doing story analysis.
Use the story of “How the Angels Built Lake Lanao” in the previous lesson. Review its story
elements and plot.
Learn about It!
Decoding Riddles
Analyzing or answering riddles requires one to
decode images from it.
Below is a riddle which originates from the Aetas:
Wearing a crown but not a queen, wearing scales
but not a fish.
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Riddle Analysis
The answer to this riddle is pineapple. The visual images in this riddle are “crown” and “scales.”
The first step is to picture a thing with these elements. Then, look at other clues such as “not a
queen” and “not a fish.” Here, the riddle hints that the answer may not be a person or an
animal. The fruit, pineapple, is the closest to the description as it appears with a crown (of
scale leaves on top of the fruit) and scales (or ovaries
covering the fruit).
Analyzing Myths
In reading a myth, it is important to understand it in the
context of its place of origin while discussing elements of
fiction.
The myth below comes from Panay in the Visayas region.
Here are guide questions that you may use in analyzing
the myth “Tungkung Langit and Alunsina.”
1. What is the subject matter of the myth?
2. Who are the main characters in the myth? Characterize
them using a Venn Diagram to note similarities and
differences.
3. Compare this myth with another that has the same
subject. How are these myths similar and different?
4. How does this myth reflect the culture of the people in Panay?
5. What is the theme of this myth?
Tungkung Langit and Alunsina
This story of creation from the old people in Panay, living near the mountains, has been
retold countless times. It said that in the beginning, there was only confusion. Even
before the creation of the earth and sky, only darkness existed—a bottomless world of
mist, shapeless and formless.
From the depths of this void, came two gods, Tungkung Langit (“Pillar of the Sky”) and
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Alunsina (“The Unmarried One”). Their origins were unknown, but what was known was
Tungkung Langit’s love for Alunsina. The two deities got married after years of courtship.
They situated their abode in the highest realm. This ethereal space always had warm
waters and a cool breeze. This was the place where order and regularity first took form.
Tungkung Langit took charge over the regular movement of the cosmos; he made sure of
the maintenance of the order of things. He was a kind, loving, and hardworking deity.
Meanwhile, Alunsina was the opposite. She was selfish, lazy, and constantly jealous. She
would idly sit by their heavenly home, delight herself with senseless thoughts, or sit by
their pool to comb her long black hair
One day, Tungkung Langit decided to fix the chaos of the flow of time and the position of
things. He bid his wife goodbye only to find out that his jealous wife had asked the
breeze to spy on him. This upset Tungkung Langit.
Tungkung Langit confronted his wife, Alunsina. He pointed out that her jealousy was
ungodly and pointless for there were no other living creature in the world except for the
two of them. Alunsina resented Tungkung Langit for this and started to quarrel with him.
Tungkung Langit lost his temper. In his anger, he took away the powers of his wife and
commanded her away. He did not know where Alunsina went.
Tungkung Langit felt lonely after a couple of days. He realized the gravity of what he had
done. Their whole palace, once filled with Alunsina’s sweet and angelic voice, now feels
cold and desolate.
He would find himself alone in the mornings; and would feel the same loneliness in the
afternoons when he came home. He would constantly feel the same loneliness seeping
in his heart. Alunsina was nowhere to meet him at the door or comfort his tired muscles.
Tungkung Langit’s loneliness lasted for months on end. He tried looking for Alunsina, but
she was nowhere to be found. He knew he should act on overcoming his desolation.
While he was sailing across the regions of the clouds, he thought of creating the sea and
the earth. As the earth and the sea suddenly appeared in his will, the dull and empty sea
bothered him. He came down to earth and planted it with flowers and trees. He scattered
his wife’s treasure jewels in the sky, hoping that it would catch Alunsina’s attention. These
became the stars. Her comb became the moon, and her crown, the sun. But Alunsina
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never returned.
The elders in Panay would often tell that up until now Tungkung Langit still lives alone in
his palace in the skies. And that the rain are his sad tears, the loud thunders are his sobs
calling for Alunsina to come back.
Analyzing Epics
Philippine “ethnoepics” can be understood through their common features as described by E.
Arsenio Manuel.
These features are:
1.
2.
3.
4.
5.
6.
narratives of sustained length
based on oral tradition;
revolving around supernatural events or heroic deeds;
in the form of verse;
which is either chanted or sung;
with a certain seriousness of purpose, embodying or validating beliefs, customs, ideals or
life values of the people.
In analyzing folktales, like epics, you may use Vladimir Propp’s Morphology of the Folktale.
Propp’s 31 Dramatic Situations
1st Sphere:
Introduction
1. Absentation:
Someone goes
missing
2nd Sphere:
The Body of the
Story
3rd Sphere:
The Donor
Sequence
4th Sphere:
The Hero’s Return
8.
12. Testing: Hero
is challenged to
prove heroic
qualities
20. Return: Hero sets out
for home
Villainy and
Lack: The need
is identified
2. Interdiction:
Hero is warned
3. Violation of
Interdiction
13. Reaction: Hero 21. Pursuit: Hero is
responds to test
chased
9.
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Mediation:
Hero discovers
14. Acquisition:
Hero gains
22. Rescue: Pursuit ends
26
the lack
4. Reconnaissance
: Villain seeks
something
10. Counteraction
: Hero chooses
positive action
magical item
15.Guidance: Hero
reaches
destination
23. Arrival: Hero arrives
unrecognized
16. Struggle: Hero
and villain do
battle
24. Claim: False hero
makes unfounded
claims
25. Task: Difficult task
proposed to the hero
5. Delivery: The
villain gains
information
11. Departure:
Hero leaves on
mission
17. Branding: Hero 26. Solution: Task is
is branded
resolved
27. Recognition: Hero is
recognized
6. Trickery: The
villain attempts
to deceive the
victim
18. Victory: Villain
is defeated
7. Complicity:
Unwitting
helping of the
enemy
19. Resolution:
Initial
misfortune or
lack is resolved
28. Exposure: False hero
is exposed
29. Transfiguration:
Hero is given a new
appearance
30. Punishment: Villain is
punished
31. Wedding: Hero
marries and ascends
the throne
Few narratives contain all these dramatic situations, and the sequence of events may change
or repeat.
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Below is a summarized epic of the Manuvus of Central Mindanao. This pagan epic is labeled
according to the 31 dramatic functions.
Tuwaang Attends a Wedding
Tuwaang, after finishing some work, calls his aunt aside and informs her
that the wind has brought him a message: he is to attend the wedding of
the Maiden of Monawon. The aunt tries to dissuade him from going, for
she forsees trouble. Tuwaang, however, is determined to go. He picks the
heart-shaped basket that can activate the lightning, puts on his headdress
and costume made by goddesses, arms himself with a long blade and
dagger, and takes his shield and spear. He rides on a flash of lightning and
arrives at the Kawkawangan grassland. While resting there a while, he
hears a gungutan bird, crowing. He decides to catch the fowl, but soon he
sees the gungutan with a dagger like spur. The gungutan tells Tuwaang he
came to know of his coming in a dream and that he wants to go with him
to the wedding celebration. Tuwaang agrees to bring the gungutan along.
The two shake their shoulders and are carried into space.
Upon arriving at Monawon, Tuwaang is admitted into the hall. He sits on a
golden stool while the gungutan perches on the crossbeam. Meanwhile,
enchanting sounds from afar and flowering trees signal the arrival of the
Young Man of Panayangan. Other gallants – the Young Man of Liwanon and
the Young Man of the Rising Sun – arrive. Finally, the groom, the Young
Man of Sakadna, arrives with a hundred followers. He haughtily asks the
house owner to clear the house “of dirt,” implying the people in the house
who do not count. To this insult, Tuwaang answers there are “red leaves,”
or heroes in the house.
At the start of the wedding ceremony, the savakan (bridewealth
consisting of wrapped food, paid for by the groom’s kinsmen) are offered
individually, until only the two most expensive ones remain. One of those
is given the value of an ancient gong with ten bosses and nine relief-rings,
while the other is redeemable only by a golden guitar and a golden flute.
The groom confesses his inability to redeem these articles. Tuwaang saves
the groom from the embarrassing predicament by taking his place:
through his magic breath he produces a more ancient gong, which was
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accepted by the bride’s party. He also produces a golden flute and a
golden guitar.
At this time, the bride was asked to come out of her room to serve some
betel chew to the guests. As she commands her betel box to serve
everyone, the betel box magically obeys and jumps into the mouths of the
guests. Two betel chews leap into the groom’s mouth then the betel box
moves on to Tuwaang. Much to the surprise of most guests, the betel box
stops altogether. Tuwaang tries to brush it away, but the box does not
move. Amazed by this, the bride then decides to sit beside Tuwaang.
The groom blushes; he is shamed. He decides to fight Tuwaang. He goes
down from the house and challenges Tuwaang to come down to the yard.
After the bride unrolls and combs Tuwaang’s hair, Tuwaang goes down to
fight. The gungutan, meanwhile, has been fighting the groom’s men and
has slain a number of them until only six gallants remain. Tuwaang and the
gungutan engage the six gallants.
After some time, only Tuwaang and the Young Man of Sakadna were left
standing. As Tuwaang is thrown against a boulder, it turns into dust.
Trees get bent and topple down when hit by Tuwaang. As Tuwaang gets a
hold of his foe, he throws him down hard that he sinks into the land. But
the Young Man of Sakadna surfaces every time and continues to fight with
Tuwaang once more. Ultimately, Tuwaang gets slammed down into the
earth and eventually sinks into the Underworld.
There he talks to Tuwaha, god of the Underworld, who tells him the secret
to overcome his foe. Tuwaang surfaces and summons the golden flute
where the Young Man of Sakadna keeps his life.
Accompanied by the gungutan, Tuwaang takes the bride home to Kuaman,
where he rules forever.
(Synopsis and Translation by E. Arsenio Manuel in Lumbera & Lumbera, Philippine Literature: A
History and Anthology)
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Check Your Understanding
A. Fill in the blanks with the correct dramatic situation described.
Description
1. The hero is chased.
2. The hero and villain do battle.
3. The villain attempts to deceive the victim.
4. The false hero makes unfounded claims.
5. The hero gains magical item.
B. Explain and draw the meaning and answers to given Filipino riddles.
Answer
Bugtong Bugtong
Picture and Explanation
1. Limang puno ng niyog, isa’y
matayog.
2. Dalawang balon, hindi malingon.
3. Isang balong malalim, punong-puno
ng patalim.
4. Mataas kung nakaupo, mababa
kung nakatayo.
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5. Malambot na parang ulap, kasama
ko sa pangangarap.
C. Read the summary of Bantugan, a Maranaw epic, and analyze its plot using
Vladimir Propp’s 31 Dramatic Situations.
Let’s Step Up!
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Performance Task
Philippine Precolonial Literary Anthology
Goal:
● Your task is to research and collate, as a class, a Philippine precolonial literary
anthology.
● Choose a literary piece to write a literary analysis on.
Role:
● Each student in the the class will be a researcher, writer, and editor for the class
anthology.
Audience:
● The target audience are Grade 7, 10, and Senior High School students.
Situation:
● You are tasked to produce, as a class, a literary anthology focusing on Philippine
precolonial literature.
Product/Performance and Purpose:
1. Each student must have one literary piece in the anthology to critique or analyze.
2. All works will be compiled, printed, and bound into an anthology book.
3. The class will be divided into two big groups: the narrative group and the poetry group.
4. Weekly consultations will be done by the teacher to check on the progress of the
anthology.
Standards and Criteria for Success: Your work will be judged based on the following rubric:
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Criteria
Beginning
(0-12 points)
Developing Accomplished
(13-16
(17-20 points)
points)
Content
Three pieces
or more are
not works of
Philippine
precolonial
literature.
One or two
pieces are
not works
of
Philippine
precolonial
literature.
All the pieces
are works of
Philippine
precolonial
literature.
Organization
The literary
works and
analyses are
not logically
arranged;
ideas in the
analyses are
not clear
and/or do
not use
proper
transitions.
Some
literary
works and
analyses
are not
logically
arranged;
some ideas
in the
analyses
are not
clear and/or
do not use
proper
transitions.
The literary
works and
analyses are
logically
arranged; ideas
in the analyses
are clear and
use proper
transitions.
Language
(spelling, mechanics,
grammar, and word usage)
There are
eight or
more
language
errors in the
anthology.
There are
four to
seven
language
errors in
the
anthology.
There are zero
to three
language
errors in the
anthology.
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Score
33
Literary Analysis
The
anthology
presented
inaccurate
critical
analyses of
the chosen
literary
works.
The
anthology
presented
good critical
analyses of
the chosen
literary
works.
The anthology
presented
exceptional
critical analyses
of the chosen
literary works.
Promptness
The
anthology
was
submitted
more than
one day late.
The
anthology
was
submitted
one day
late.
The anthology
was properly
submitted on
time.
TOTAL SCORE:
Self-Check: How Well Did I Learn?
Do a self-check on how well you learned the lessons in this unit. Place a checkmark in the
appropriate box.
I am familiar and
I think I need more
I am confident that I
can perform well
Skills
practice and
can perform this on
with minimal
assistance
my own
assistance
I can describe the
earliest literary
period.
I can identify the
various literary
forms of the
precolonial period
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and their common
features.
I can analyze the
literary works that
characterize the
period.
Wrap Up
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Bibliography
Baritugo, Mercedita R., Reynaldo G. Caranguian, Angelita C. Punzalan, and Ernesto Thaddeus
M. Solmerano. 2007. Philippine Literature: An Introduction to Poetry, Fiction, and Drama.
Manila: FEU Publications.
Cordero-Fernando, Gilda. 2012. “Song hit kit from 1935 to 1943.” Philippine Daily Inquirer.
Accessed Macrh 7, 2017. http://lifestyle.inquirer.net/78941/song-hit-kit-from-1935-to-1943/
“The Creation Story.” Accessed March 1, 2017. http://www.seasite.niu.edu/tagalog/folktales/
Tagalog/creation_story.htm.
Del Rosario, M. M. “55 Examples of Filipino Proverbs.” Last modified August 21, 2015.
http://hubpages.com/education/examples-of-filipino-proverbs.
Del Rosario, M. M. “Filipino Riddles.” Last modified April 5, 2015.
http://hubpages.com/gameshobbies/
Bugtong_Filipino_Riddles. Eugenio, Damiana. 1982. Philippine Folk Literature: An Anthology.
Quezon City: University of the Philippines Press.
Kahayon, Alicia H., Magdalena P. Limdico, Erlinda M. Santiago. 2010. Panitikang Filipino:
Kasaysayan at Pag-unlad. Mandaluyong City: National Book Store, Inc.
Lorenzo, Carmelita S., Rosario U. Mag-atas, Gloria P. San Juan, Corazon P. San Juan, Zenaida S.
De Leon, Marianne C. Ortiz, and Randy D. Sagun. 2012. Literaturang Pilipino Tekstong
Pangkolehiyo. Quezon City: National Book Store, Inc.
Lumbera, Bienvenido, and Cynthia Nograles Lumbera, eds. 2005. Philippine Literature: A
History and Anthology. Mandaluyong City: Anvil Publishing, Inc.
Manuel, E. Arsenio. 2007. Filipino Myths and Folktales Treasury Stories. Pasig City: Anvil
Publishing, Inc.
“Propp’s Morphology of the Folk Tale.” Accessed March 2, 2017.
http://changingminds.org/disciplines/storytelling/plots/propp/propp.htm
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