The Literary Forms in Philippine Literature by: Christine F.

Godinez-Ortega The diversity and richness of Philippine literature evolved side by side with the country's history. This can best be appreciated in the context of the country's pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions. The average Filipino's unfamiliarity with his indigenous literature was largely due to what has been impressed upon him: that his country was "discovered" and, hence, Philippine "history" started only in 1521. So successful were the efforts of colonialists to blot out the memory of the country's largely oral past that present-day Filipino writers, artists and journalists are trying to correct this inequity by recognizing the country's wealth of ethnic traditions and disseminating them in schools and in the mass media. The rousings of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the "Filipino identity."

Pre-Colonial Times Owing to the works of our own archaeologists, ethnologists and anthropologists, we are able to know more and better judge information about our pre-colonial times set against a bulk of material about early Filipinos as recorded by Spanish, Chinese, Arabic and other chroniclers of the past. Pre-colonial inhabitants of our islands showcase a rich past through their folk speeches, folk songs, folk narratives and indigenous rituals and mimetic dances that affirm our ties with our Southeast Asian neighbors. The most seminal of these folk speeches is the riddle which is tigmo in Cebuano, bugtong in Tagalog, paktakon in Ilongo and patototdon in Bicol. Central to the riddle is the talinghaga or metaphor because it "reveals subtle resemblances between two unlike objects" and one's power of observation and wit are put to the test. While some riddles are ingenious, others verge on the obscene or are sex-related: Gaddang: Gongonan nu usin y amam If you pull your daddy's penis Maggirawa pay sila y inam. Your mommy's vagina, too, (Campana) screams. (Bell) The proverbs or aphorisms express norms or codes of behavior, community beliefs or they instill values by offering nuggets of wisdom in short, rhyming verse. The extended form, tanaga, a mono-riming heptasyllabic quatrain expressing insights and lessons on life is "more emotionally charged than the terse proverb and thus has affinities with the folk lyric." Some examples are the basahanon or extended didactic sayings from Bukidnon and the daraida and daragilon from Panay.

The folk song, a form of folk lyric which expresses the hopes and aspirations, the people's lifestyles as well as their loves. These are often repetitive and sonorous, didactic and naive as in the children's songs or Idaida (Maguindanao), tulang pambata (Tagalog) or cansiones para abbing (Ibanag). A few examples are the lullabyes or Ili-ili (Ilongo); love songs like the panawagon and balitao (Ilongo); harana or serenade (Cebuano); the bayok(Maranao); the seven-syllable per line poem, ambahan of the Mangyans that are about human relationships, social entertainment and also serve as a tool for teaching the young; work songs that depict the livelihood of the people often sung to go with the movement of workers such as the kalusan (Ivatan), soliranin (Tagalog rowing song) or the mambayu, a Kalinga rice-pounding song; the verbal jousts/games like the duplo popular during wakes. Other folk songs are the drinking songs sung during carousals like the tagay (Cebuano and Waray); dirges and lamentations extolling the deeds of the dead like the kanogon (Cebuano) or the Annako (Bontoc). A type of narrative song or kissa among the Tausug of Mindanao, the parang sabil, uses for its subject matter the exploits of historical and legendary heroes. It tells of a Muslim hero who seeks death at the hands of non-Muslims. The folk narratives, i.e. epics and folk tales are varied, exotic and magical. They explain how the world was created, how certain animals possess certain characteristics, why some places have waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, an explanation of the origins of things. Fables are about animals and these teach moral lessons. Our country's epics are considered ethno-epics because unlike, say, Germany's Niebelunginlied, our epics are not national for they are "histories" of varied groups that consider themselves "nations." The epics come in various names: Guman (Subanon); Darangen (Maranao); Hudhud (Ifugao); and Ulahingan (Manobo). These epics revolve around supernatural events or heroic deeds and they embody or validate the beliefs and customs and ideals of a community. These are sung or chanted to the accompaniment of indigenous musical instruments and dancing performed during harvests, weddings or funerals by chanters. The chanters who were taught by their ancestors are considered "treasures" and/or repositories of wisdom in their communities. Examples of these epics are the Lamang (Ilocano); Hinilawod (Sulod); Kudaman (Palawan); Darangen (Maranao); Ulahingan (LivunganenArumanen Manobo); Mangovayt Buhong na Langit (The Maiden of the Buhong Sky from Tuwaang-Manobo); Ag Tobig neg Keboklagan (Subanon); and Tudbulol(T'boli).

The Spanish Colonial Tradition While it is true that Spain subjugated the Philippines for more mundane reasons, this former European power contributed much in the shaping and recording of our literature. Religion and institutions that represented European civilization enriched the languages in the lowlands, introduced theater which we would come to know as komedya, the sinakulo, the sarswela, the playlets and the drama. Spain also brought to the country, though at a much later time, liberal ideas and an internationalism that influenced our own Filipino intellectuals and writers for them to understand the meanings of "liberty and freedom." Literature in this period may be classified as religious prose and poetry and secular prose and poetry.

Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were included in early catechism and were used to teach Filipinos the Spanish language. Fernando Bagonbanta's "Salamat nang walang hanga/gracias de sin sempiternas" (Unending thanks) is a fine example that is found in theMemorial de la vida cristiana en lengua tagala (Guidelines for the Christian life in the Tagalog language) published in 1605. Another form of religious lyrics are the meditative verses like the dalit appended to novenas and catechisms. It has no fixed meter nor rime scheme although a number are written in octosyllabic quatrains and have a solemn tone and spiritual subject matter. But among the religious poetry of the day, it is the pasyon in octosyllabic quintillas that became entrenched in the Filipino's commemoration of Christ's agony and resurrection at Calvary. Gaspar Aquino de Belen's "Ang Mahal na Passion ni Jesu Christong Panginoon natin na tola" (Holy Passion of Our Lord Jesus Christ in Verse) put out in 1704 is the country's earliest known pasyon. Other known pasyons chanted during the Lenten season are in Ilocano, Pangasinan, Ibanag, Cebuano, Bicol, Ilongo and Waray. Aside from religious poetry, there were various kinds of prose narratives written to prescribe proper decorum. Like the pasyon, these prose narratives were also used for proselitization. Some forms are: dialogo (dialogue), Manual de Urbanidad (conduct book); ejemplo (exemplum) and tratado (tratado). The most well-known are Modesto de Castro's "Pagsusulatan ng Dalawang Binibini na si Urbana at si Feliza" (Correspondence between the Two Maidens Urbana and Feliza) in 1864 and Joaquin Tuason's "Ang Bagong Robinson" (The New Robinson) in 1879, an adaptation of Daniel Defoe's novel. Secular works appeared alongside historical and economic changes, the emergence of an opulent class and the middle class who could avail of a European education. This Filipino elite could now read printed works that used to be the exclusive domain of the missionaries. The most notable of the secular lyrics followed the conventions of a romantic tradition: the languishing but loyal lover, the elusive, often heartless beloved, the rival. The leading poets were Jose Corazon de Jesus (Huseng Sisiw) and Francisco Balagtas. Some secular poets who wrote in this same tradition were Leona Florentino, Jacinto Kawili, Isabelo de los Reyes and Rafael Gandioco. Another popular secular poetry is the metrical romance, the awit and korido in Tagalog. The awit is set in dodecasyllabic quatrains while the korido is in octosyllabic quatrains. These are colorful tales of chivalry from European sources made for singing and chanting such as Gonzalo de Cordoba (Gonzalo of Cordoba) and Ibong Adarna (Adarna Bird). There are numerous metrical romances in Tagalog, Bicol, Ilongo, Pampango, Ilocano and in Pangasinan. The awit as a popular poetic genre reached new heights in Balagtas' "Florante at Laura" (ca. 1838-1861), the most famous of the country's metrical romances. Again, the winds of change began to blow in 19th century Philippines. Filipino intellectuals educated in Europe called ilustrados began to write about the downside of colonization. This, coupled with the simmering calls for reforms by the masses gathered a formidable force of writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto and Andres Bonifacio. This led to the formation of the Propaganda Movement where prose works such as the political essays and Rizal's two political novels, Noli Me Tangere and the El filibusterismo helped usher in the Philippine revolution resulting in the downfall of the Spanish regime, and, at the same time planted the seeds of a national consciousness among Filipinos.

But if Rizal's novels are political, the novel Ninay (1885) by Pedro Paterno is largely cultural and is considered the first Filipino novel. Although Paterno's Ninaygave impetus to other novelists like Jesus Balmori and Antonio M. Abad to continue writing in Spanish, this did not flourish. Other Filipino writers published the essay and short fiction in Spanish in La Vanguardia, El Debate, Renacimiento Filipino, and Nueva Era. The more notable essayists and fictionists were Claro M. Recto, Teodoro M. Kalaw, Epifanio de los Reyes, Vicente Sotto, Trinidad Pardo de Tavera, Rafael Palma, Enrique Laygo (Caretas or Masks, 1925) and Balmori who mastered the prosa romantica or romantic prose. But the introduction of English as medium of instruction in the Philippines hastened the demise of Spanish so that by the 1930s, English writing had overtaken Spanish writing. During the language's death throes, however, writing in the romantic tradition, from the awit and korido, would continue in the novels of Magdalena Jalandoni. But patriotic writing continued under the new colonialists. These appeared in the vernacular poems and modern adaptations of works during the Spanish period and which further maintained the Spanish tradition.

The American Colonial Period A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writer's individuality and cultivated consciousness of craft, sometimes at the expense of social consciousness. The poet, and later, National Artist for Literature, Jose Garcia Villa used free verse and espoused the dictum, "Art for art's sake" to the chagrin of other writers more concerned with the utilitarian aspect of literature. Another maverick in poetry who used free verse and talked about illicit love in her poetry was Angela Manalang Gloria, a woman poet described as ahead of her time. Despite the threat of censorship by the new dispensation, more writers turned up "seditious works" and popular writing in the native languages bloomed through the weekly outlets like Liwayway and Bisaya. The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in poetry. Abadilla later influenced young poets who wrote modern verses in the 1960s such as Virgilio S. Almario, Pedro I. Ricarte and Rolando S. Tinio. While the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story as published in thePhilippines Free Press, the College Folio and Philippines Herald. Paz Marquez Benitez's "Dead Stars" published in 1925 was the first successful short story in English written by a Filipino. Later on, Arturo B. Rotor and Manuel E. Arguilla showed exceptional skills with the short story. Alongside this development, writers in the vernaculars continued to write in the provinces. Others like Lope K. Santos, Valeriano Hernandez Pea and Patricio Mariano were writing minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch). The romantic tradition was fused with American pop culture or European influences in the adaptations of Edgar Rice Burroughs' Tarzan by F. P. Boquecosa who also penned Ang Palad ni Pepe after Charles Dicken's David Copperfield even as the realist tradition was kept alive in the novels by Lope K. Santos and Faustino Aguilar, among others.

It should be noted that if there was a dearth of the Filipino novel in English, the novel in the vernaculars continued to be written and serialized in weekly magazines like Liwayway, Bisaya, Hiligaynon and Bannawag. The essay in English became a potent medium from the 1920's to the present. Some leading essayists were journalists like Carlos P. Romulo, Jorge Bocobo, Pura Santillan Castrence, etc. who wrote formal to humorous to informal essays for the delectation by Filipinos. Among those who wrote criticism developed during the American period were Ignacio Manlapaz, Leopoldo Yabes and I.V. Mallari. But it was Salvador P. Lopez's criticism that grabbed attention when he won the Commonwealth Literay Award for the essay in 1940 with his "Literature and Society." This essay posited that art must have substance and that Villa's adherence to "Art for Art's Sake" is decadent. The last throes of American colonialism saw the flourishing of Philippine literature in English at the same time, with the introduction of the New Critical aesthetics, made writers pay close attention to craft and "indirectly engendered a disparaging attitude" towards vernacular writings -- a tension that would recur in the contemporary period.

The Contemporary Period The flowering of Philippine literature in the various languages continue especially with the appearance of new publications after the Martial Law years and the resurgence of committed literature in the 1960s and the 1970s. Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially committed, gender/ethnic related or are personal in intention or not. Of course the Filipino writer has become more conscious of his art with the proliferation of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet. The various literary awards such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life and Panorama literary awards encourage him to compete with his peers and hope that his creative efforts will be rewarded in the long run. With the new requirement by the Commission on Higher Education of teaching of Philippine Literature in all tertiary schools in the country emphasizing the teaching of the vernacular literature or literatures of the regions, the audience for Filipino writers is virtually assured. And, perhaps, a national literature finding its niche among the literatures of the world will not be far behind. Philippine Literature (Redirected from Philippine literature) Philippine Literature is a diverse and rich group of works that has evolved side-by-side with the countrys history. Literature had started with fables and legends made by the ancient Filipinos long before the arrival of Spanish influence. The main themes of Philippine literature focus on the countrys pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions. It is not a secret that many Filipinos are unfamiliar with much of the country's literary heritage, especially those that were written long before the Spaniards arrived in our country. This is due to the fact that the stories of ancient time were not written, but rather passed on from generation to generation through word of mouth. Only

during 1521 did the early Filipinos became acquainted with literature due to the influence of the Spaniards on us. But the literature that the Filipinos became acquainted with are not Philippine-made, rather, they were works of Spanish authors. So successful were the efforts of colonists to blot out the memory of the country's largely oral past that presentday Filipino writers, artists and journalists are trying to correct this inequity by recognizing the country's wealth of ethnic traditions and disseminating them in schools through mass media. The rise of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the "Filipino identity." Pre-Colonial Times Owing to the works of our own archaeologists, ethnologists and anthropologists, we are able to know more and better judge information about Philippine pre-colonial times set against a bulk of material about early Filipinos as recorded by Spanish, Chinese, Arabic and other chroniclers of the past. Pre-colonial inhabitants of our islands showcase the Philippines' rich past through their folk sayings, folk songs, folk narratives and indigenous rituals and mimetic dances. The most seminal of these folk sayings is the riddle which is tigmo in Cebuano, bugtong in Tagalog, paktakon in Ilonggo and patototdon inBicol. There are also proverbs or aphorisms that express norms or codes of behavior, community beliefs or values by offering nuggets of wisdom in short, rhyming verse. The folk song, is a form of folk lyric which expresses the hopes and aspirations, the people's lifestyles as well as their loves. These are often repetitive and sonorous, didactic and naive as in the children's songs or Idaida (Maguindanao), tulang pambata (Tagalog) or cansiones para abbing (Ibanag). A few examples are the lullabyes or Ili-ili (Ilonggo); love songs like the panawagon and balitao (Ilonggo); harana or serenade (Cebuano); thebayok (Maranao); the seven-syllable per line poem, ambahan of the Mangyans that are about human relationships, social entertainment and also serve as tools for teaching the young; work songs that depict the livelihood of the people often sung to go with the movement of workers such as the kalusan (Ivatan), soliranin (Tagalog rowing song), the mambayu, a Kalinga rice-pounding song, and the verbal jousts/games like theduplo popular during wakes. The folk narratives, such as epics and folk tales are varied, exotic and magical. They were created to explain the phenomena of the world long before science came to be known. They explain how the world was created, how certain animals possess certain characteristics, why some places have waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, the origins of things. Fables are about animals and these teach moral lessons. The epics come in various names: Guman (Subanon); Darangen (Maranao); Hudhud (Ifugao); and Ulahingan (Manobo). These epics revolve around supernatural events or heroic deeds and they embody or validate the beliefs and customs and ideals of a community. They are performed during feasts and special occasions such as harvests, weddings or funerals by chanters. Examples of these epics are the Lamang (Ilocano); Hinilawod (Sulod); Kudaman (Palawan); Darangen (Maranao); Ulahingan (LivunganenArumanen Manobo); Mangovayt Buhong na Langit (The Maiden of the Buhong Sky from Tuwaang-Manobo); Ag Tobig neg Keboklagan(Subanon); and Tudbulol (T'boli). http://cieleymiyake.blogspot.com/2011/02/module-1-ibalon-reported-by-cielo-jane_3761.html Pre-Colonial Period

Consisted of early Filipino literature passed down orally; oral pieces have a communal authorship it was difficult to trace the original author of the piece since oral literature did not focus on ownership or copyright, rather on the act of storytelling itself;

Many oral pieces became lost in the wave of the new literary influence brought about by the Spanish colonization; however, according to the Philippine Literature: A History & Anthology, English Edition (Lumbera, B. & Lumbera C.), the pre-colonial period of Philippine literature is considered the longest in the countrys history;

Literature in this period is based on tradition, reflecting daily life activities such as housework, farming, fishing, hunting, and taking care of the children as well;

Oral pieces told stories which explained heroes and their adventures; they attempted to explain certain natural phenomena, and, at the same time, served as entertainment purposes;

Pre-colonial literature showed certain elements that linked the Filipino culture to other Southeast Asian countries (e.g. oral pieces which were performed through a tribal dance have certain similarities to the Malay dance);

This period in Philippine literature history represented the ethos of the people before the arrival of a huge cultural influence literature as a cultural tradition, than a form of art that had a particular set of decorum.

Early Forms of Philippine Literature:

o Bugtong (riddles; a bugtong contains a metaphor called, Talinghaga), Salawikain (proverb); o Pre-colonial poetry Tanaga (expresses a view or a value of the world), Ambahan (songs about childhood, human relationships, hospitality; sung by the Mangyan), Duplo (verbal jousts/games), Bayok (thoughts about love), Balagtasan (performed on stage); o Epic poetry romantic heroes and heroines that are a reflection of the world as perceived by the early Filipinos.

Notable Works of the Pre-colonial Period:

Tuwaang, Lam-ang, Hinilawod, Bantugan

II.

Spanish Colonial Period (Mid-16th late 19th century)

The Spanish culture, as reflected in the works of this literature period, showed a clash with the precolonial Filipino literature in the beginning. However, due to the length of stay of the colonizers, the Spanish culture was eventually imbued in the Filipino literature of the period;

Religion became an important theme that had influenced the early Filipino writings which had the presence of paganism Christian Folk-Tale;

In addition, the influence of religion, besides on the daily life of the natives, was lead by the friar/missionary/parish priest who were appointed by the Spanish government;

Despite the goal of the Spanish government to turn the country into a full-fledged European colony, the Spanish influence ironically inspired a reformation from the natives, which eventually turned into a revolution;

Yet regardless of the conflicts that plagued the relationship between the Spaniards and the Filipinos, a sense of nationalism was formed among the oppressed, and had caused them to rise up to a nationalistic cause;

The essay genre was recognized amidst the scene of editorial protest Jose Rizal and Plaridel (Marcelo H. Del Pilar) were among those who opt in using the pen in voicing out the peoples cry instead of the sword;

Introduction of the roman alphabet that gradually replaced the alibata;

The Filipino literature of this period became the predecessor of many more literary works to come in the ages, wherein the theme of nationalism and freedom of speech would be evident.

Philippine Literature and Art during the Spanish Period:

o Pasyon and Sinakulo (religious dramas performed during the Holy Week);

o Narrative Poems Awit; Corrido; o Komedya a theatrical performance which captured the ideal European lifestyle as portrayed by medieval characters

Notable Works of the Spanish Period:

o Doctrina Christiana (1593) the first book ever published in the Philippines; printed by the Dominican Press; o May Bagyo Mat May Rilim according to literary historian, Bienvenido Lumbera, is the first printed literary work in Tagalog; o Ang Mahal na Passion ni Jesu Christong P. Natin na Tola (1704) eventually referred to as Pasyon, was written by Gaspar Aquino de Belen; an example of Christian folk epic in which the passion of Jesus Christ was written in relation with the plight of the Filipino people who were oppressed by the colonizers, as well as the values of a Filipino; o Ninay (1885) first Filipino novel written; Pedro Paterno; o Florante at Laura Francisco Balagtas Baltazar; though there are symbols and themes which dictate the protest of the Filipino against the Spanish regime, it is uncertain as to whether or not Balagtas had intended the issue which was subtly derived from his work since he left no notes or additional pieces that may affirm the conclusion; o Noli Me Tangere (1887) and El Filibusterismo (1891) Jose Rizal; works which created an impact on the national consciousness and love for ones country against the abusive government of the Spaniards; o La Solidaridad Propagandist newspaper.

III.

American Colonial Period (Late 19th Mid-20th century)

The gradual decline of the Philippine literature written in Spanish;

The English language eventually became the medium of writing and instruction in schools;

As the Spanish colonizers left the country in accordance with the Treaty of Paris, the spirit of nationalism and the desire to be acknowledged of independence did not disappear just yet. Instead, these uniting forces geared into revolting against the new colonizers;

During the American colonization period, Philippine literature reflected the ethos of its people under a new role. However, these day-to-day experiences under a new foreign influence, as well as sentiments, were expressed through the English language;

The Spanish sarsuwela was eventually replaced by the drama;

One major influence of the American occupation on the Filipino literature is its refining in the context of the content and the form. Furthermore, because of this broadened knowledge on the field of literature through the education provided by the American government, Philippine literature has become more than a tradition formed by culture. It has become an art which succeeding poets, fictionists, and playwrights continue to build upon and enrich in every generation;

Beginning with Rizals use of social realism as one of the major themes for his two major novels, the literature during the American colonization also became an involvement, not just reflecting the Filipino experience a strengthened sense of nationalism deeply rooted in the Filipino pride and culture;

Unlike in the Spanish colonization period wherein female writers (e.g. Gregoria de Jesus) were overshadowed by their more dominant, male contemporaries as a result of the education only being provided to a selected and privileged few during the American occupation, women have had their opportunity to enhance their talent by being educated on the craft. In addition, the growing popularity of works written by Filipina writers is the result of the growing audience appreciating literature by females.

Philippine Literature and Art during the American Period: o Short Story o Poetry in English o Free Verse in Poetry o Drama

Notable Works of the American Period:

o Mga Agos sa Disyerto (1964) Efren R. Abueg, Edgardo M. Reyes, Eduardo Bautista Reyes, Rogelio L. Ordoez and Rogelio R. Sikat; this short story anthology brought fiction into the age of modernism; o Ako ang Daigdig (1940) Alejandro G. Abadilla; free verse poem; Sa Dakong Silangan Jose Corazon de Jesus; a poem written in the vernacular http://lourdesbraceros.weebly.com/a-brief-history-of-philippine-literature-in-english.html

http://www.scribd.com/doc/26364271/Philippine-Literature-Pre-Spanish-Period

BIAG NI LAM-ANG Namongan (Lam-angs Mother) and Don Juan (Lam -angs Father) had recently beenunified in marriage. Shortly after, Namongan became pregnant and Don Juan performed thevarious tasks needed to prepare for the birth. Don Juan sets out to engage into a fight with thecheckered Igorots. Namongan gives birth to a baby boy who is able to speak and requests to benamed Lam-ang. At nine months, Lam-ang discovers that his father, Don Juan, has been gone and sets out to search for him.Lam-ang brings various magic stones on his journey as well as weapons. Eventually,Lam -ang encounters an Igorot gathering and learns that his father was killed and head severed.Lam-ang then engages into battle and wins the fight with the Igorots of the various Igorot townsand villages. Lam-ang then returns home and achieves various tasks, such as cleaning the barn,washing his hair, and defeating the crocodile. Lam -ang then determines that he would like tovisit Dona Ines Kannoyan of Kalanutian and attempt to court her.Dona Ines Kannoyan is described as a perfect woman who has many suitors. She is the daughter of Unnayon. Against the wishes of his mother, Lam-ang travels to Kalanutianto meet Kannoyan. During his journey he encounters two people, a man named Sumarang, a mankilled by Lam-ang who shared the same task as Lam-ang, and Saridaadan, a woman Lam angi g n o r e s . U p o n a r r i v i n g i n K a l a n u t i a n , L a m a n g o b s e r v e s v a r i o u s s u i t o r s o f K a n n o y a n . T h e animals Lam-ang travel with create a disturbance and therefore achieves Kannoyans attention.Lam-ang finds that Kannoyan has been expecting him and moves on to meet the parents.Lam-ang asks for the permission to marry Kannoyan. Kannoyans parents allow it only if Lam-ang is capable of producing the same wealth the family possess. Lam-ang proves his prosperitya n d a w e d d i n g i s p l a n n e d . L a m a n g t r a v e l s h o m e t o p r e p a r e f o r t h e w e d d i n g a n d r e t u r n s t o Kalanutian with his mother, townspeople, and wedding supplies. Lam-ang and Kannoyan getmarried in a church on a Monday and a celebration takes place shortly after. The townspeople of the bride and groom, as well as the family members, travel on the two ships of Lam-ang to Lam-angs home town where another chain of festivities take place.Afterward, Kannoyans parents leave Kannoyan to live with Lam-ang and the couple begins their lives together. The town head delegates a task to Lam-ang in which he must fish for r a r i n g . L a m - a n g attains a premonition of an incident in which the berkakan, a monster fish,c onsumes his entire body.The premonition also includes an omen in which, a dancing staircase and the kasuuran breaking into pieces. Undoubtedly, the premonition and omen become true, and Lam-ang isd e v o u r e d b y a b e r k a k a n . K a n n o y a n h a s s e e n t h e o m e n a n d s e a r c h e s f o r a d i v e r t o l o c a t e t h e bones of her husband. Kannoyan brings the animals of Lam-ang to the bones and the whiterooster, hen, and hairy dog perform a ritual on the bones which bring Lam-ang back to life. FOLK SONGS folk songs are one of the oldest forms of Philippine literature that emergedIn the Pre-Spanish period. These songs mirrored the early forms of culture. Many of these have 12 syllables.Examples:KUNDIMAN(Awit ng Pag-ibig Songs of Love) Noong unang panahon nung ako ay bata pa, Natisod mo na ay di pa alintana, Nang ako ay lumaki at maging dalaga,Tila sa Wari ko y may pagbabanta pa.Pagsinta mo sa akin ay di ko tatanggapinPagkat akong ito ay alangan sa tingin,Ako ay mahirap, pangit pa sa tingin,ANG DALIT O IMNO(Song to the God Of the Visayans)Puamanaog-pumanaogSi MansilatanSaka si Badla ay bababa,Mamimigay ng olakas,Pasayawin ang mga Baylan,Pagligiran ng mga Baylan.KUMINTANG O TAGUMPAY(War song)Ang nuno nating lahatSa kulog di nasisindak,Sa labanan di naaawat,Pinuhunang buhay,

hirap,Upang tayong mga anak,Mabuhay ng mapanatag.ANG OYAYI O HELE(Lullaby)Matulog ka na bunsoAng tatay mo ay malayoHindi nya tayo masundoPagkat ang daay maputik at mabalaho.DIANA(Wedding Song)Umawit tayo at ipagdiwangAng dalawang pusong ngayon ay ikakasalAng daraanan nilang landasSabuyan natin ng bigas SOLIRANING(Song of the Laborer)Hala gaod tayo, pagod ay tiisinAng lahat ng hirap pag-aralang bathinKahit malayo man, kung ating ibigin,Daig ang malapit na ayaw lakbayin.Kay pagkasawing palad ng lanak sa hirap,Ang bisig hindi iunatDi kumita ng pilak.

EPIGRAMS (Salawikain)these have been customarily used and served as laws or rules on good behavior by our ancestors. To others, these are like allegoriesor parables that impart lessons for the young.Examples: May tainga ang lupa, may pakpak ang balita. Kahit saang gubat, ay mayruong ahas. Walang lumura sa langit na di sa kanyang mukha nagbalik. Bago ka bumati ng sa ibang uling, uling mo muna ang iyong pahirin. Ang umaayaw ay di nagwawagi, ang nagwawagi ay di umaayaw. "Although beauty may be skin deep, many have drowned there." RIDDLES (Bugtong or Palaisipan)These are made up of one or more measured lines with rhyme and may consist of 4 to 12 syllabes.Examples: Hiyas na puso, kulay ginto, mabango kung amuyin, masarap kung kainin. (mangga) Nanganak ang birhen, itinapon ang lampin. (saging) May langit, may lupa, May tubig, walang isda. (niyog) Buhok ni Adan, hindi mabilang. (ulan) Nagsaing si Hudas, kinuha ang tubig itinapon ang bigas. (gata ng niyog)

The Pre Spanish Period The variety and abundance of Philippine literature evolved even before thecolonial periods. Some parts of the Philippine literature are influenced by some Asiancountries that first traded with the

Filipinos long time ago. Folk tales, epics, poems andmarathon chants existed in most ethno linguistic groups that were passed on fromgenerations to generations through word of mouth. Literary works Filipinos are oral because of the reason that written literature is inaccessible. Even though Filipinos hadtheir own system of writing, it cannot be preserved in durable materials. They startedwriting on clays, barks of trees and other natural resources available in the Pre ColonialPeriod. INDIGENOUS SPIRITUAL BELIEFS Belief in indigenous spiritual beliefs is pervasive in the olden times. This religionis also known as animism . The term animism applies to the belief that within allcreatures and all objects there exists a soul or personality. It is thus a spiritual belief, andmany scholars have offered the idea that animism was the first spiritual concept of humankind, and that it underlies all further religious thought. Filipinos believed that thereare gods and goddesses of every thing in nature.Animism gave birth to folk narratives, riddles, proverbs, songs, ritual chants andepics. These literatures are community-bound and rose from the experiences andobservations of the communitys people. Yet, this literary works were used more of entertainment than that of information.

FOLK TALES Filipino folktales ( kwentong bayan ) sprung and spread in the olden days.. Filipinofolktales are stories that form part of the oral tradition in the Philippines. They have been passed on generation to generation by word of mouth rather than by writing, and thestories have been modified by continuous retellings before they were written down andrecorded in the modern times. Folktales in general include legends, fables, jokes, tallstories and fairy tales. Many of the folktales in the Philippines involve mythical creaturesand magical transformations.Folktales in the Philippines are thought to show the tradition of the Philippines. Folktalescan be classified into four major groups: 1. PHILIPPINE MYTHS are about the creation of the universe, God ( Bathala or Maykapal ), and the origin of man, supernatural beings and native Filipino heroes.Example: How the World Began (A popular Bukidnon Folk Tale) 2. FILIPINO LEGENDS ( alamat

) relate the origin of local phenomena, places, plants,animals, things and names. Legends are stories that tell the origin of certain things, places, etc.Myths and legends served to explain natural phenomena and peoples belief sothat the members of their communities would understand mysterious things in their environment and probably become less fearful of them.

Examples: How did Kanlaon Volcano came to be; why is the Philippines made up of somany islands 3. FILIPINO FABLES are stories about animals and inanimate beings that are made tospeak and act like rational beings. Filipino fables tell moral lessons to people. 4. FANTASY STORIES are stories about the unseen world or the underworld and withodd, magical and supernatural characters. CHANTS Chants also refer to folk songs. Folk songs help express the feeling and reactionsof Filipinos in their daily life. Folk songs touches all aspects of life, be it love, lullaby,game, hunting, hailing, sailing, etc. The continuous celebrations gave birth to these folk songs. RIDDLES Riddles also impart in the development of literature in Pre Spanish Period .Riddles express talinghaga , or Metaphor in English. It shows some resemblance between two different objects. Riddles are used to entertain people.

The custom, thought,everyday life, and native environment of the Filipinos are pictured by means of riddles.Answering riddles is a native game of the mind common in the Philippines. One goodexample of a tagalog riddle is,

Pre-Colonial Early Times - 1564 Filipinos often lose sight of the fact that the first period of the Philippine literary history is the longest. Certain events from the nation's history had forced lowland Filipinos to begin counting the years of history from 1521, the first time written records by Westerners referred to the archipelago later to be called "Las islas Filipinas". However, the discovery of the "Tabon Man" in a cave in Palawan in 1962, has allowed us to stretch our prehistory as far as 50,000 years back. The stages of that prehistory show how the early Filipinos grew in control over their environment. Through the researches and writings about Philippine history, much can be reliably inferred about precolonial Philippine literature from an analysis of collected oral lore of Filipinos

whose ancestors were able to preserve their indigenous culture by living beyond the reach of Spanish colonial administrators. The oral literature of the precolonial Filipinos bore the marks of the community. The subject was invariably the common experience of the people constituting the village-food-gathering, creature and objects of nature, work in the home, field, forest or sea, caring for children, etc. This is evident in the most common forms of oral literature like the riddle, the proverbs and the song, which always seem to assume that the audience is familiar with the situations, activities and objects mentioned in the course of expressing a thought or emotion. The language of oral literature, unless the piece was part of the cultural heritage of the community like the epic, was the language of daily life. At this phase of literary development, any member of the community was a potential poet, singer or storyteller as long as he knew the language and had been attentive to the conventions f the forms. In settlements along or near the seacoast, a native syllabary was in use before the Spaniards brought over the Roman alphabet. The syllabary had three vowels (a, i-e, u-o) and 14 consonants (b, d, g, h, k, l, m, n, ng, p, r, s, t, w, and y) but, curiously enough, had no way of indicating the consonantal ending words. This lends credence to the belief that the syllabary could not have been used to produce original creative works which would all but be undecipherable when read by one who had had no previous contact with the text. When the syllabary fell into disuse among the Christianized Filipinos, much valuable information about precolonial culture that could had been handed down to us was lost. Fewer and fewer Filipinos kept records of their oral lore, and fewer and fewer could decipher what had been recorded in earlier times. The perishable materials on which the Filipinos wrote were disintegrate and the missionaries who believed that indigenous pagan culture was the handicraft of the devil himself destroyed those that remained. There are two ways by which the uniqueness of indigenous culture survived colonization. First, by resistance to colonial rule. This was how the Maranaws, the Maguindanaws, and the Tausogs of Mindanao and Igorots, Ifugao, Bontocs and Kalingas of the Mountain Province were able to preserve the integrity of their ethnic heritage. The Tagbanwas, Tagabilis, Mangyans, Bagobos, Manuvus, Bilaan, Bukidnons, and Isneg could cling on the traditional way of life because of the inaccessibility of settlements. It is to these descendants of ancient Filipinos who did not come under the cultural sway of Western colonizers that we turn when we look for examples of oral lore. Oral lore they have been preserve like epics, tales, songs, riddles, and proverbs that are now windows to a past with no written records which can be studied. Ancient Filipinos possessed great wealth of lyric poetry. There were many songs of great variety in lyrics and music as well as meter. Each mountain tribe and each group of lowland Filipinos had its own. Most of the may be called folksongs in that there can be traced in them various aspects of the life and customs of the people. Precolonial poetry were composed of poems composed of different dialects of the islands. The first Spanish settlers themselves found such poetry, reproduced them, and recorded in their reports and letters to Spain. Although precolonial poems are distinct from the lyrics of the folksongs the said poems were usually chanted when recited, as is still the custom of all Asiatic peoples and Pacific Ocean tribes. It is true that many of the precolonial poetry is crude in ideology and phraseology as we look at it with our present advanced knowledge of what poetry should be. Considering the fact that early Filipinos never studied literature and never had a chance to study poetry and poetic technique, it is surprising that their spontaneous poetic expression had some rhythmic pattern in the use of equal syllabic counts for the lines of stanza, and have definitely uniform rhyming scheme. Spanish missionaries writing grammars and vocabularies had made good use of these early beginnings of Filipino poetry to illustrate word usage according to the dictionary and grammatical definitions they had cast. Thousands of maxims, proverbs, epigrams, and the like have been listed by many different collectors and researchers from many dialects. Majority of these reclaimed from oblivion com from the Tagalos, Cebuano, and Ilocano dialects. And the bulk are rhyming couplets with verses of five, six seven, or eight syllables, each line of the couplet having the same number of syllables. The rhyming practice is still the same as today in the three dialects mentioned. A good number of the proverbs is conjectured as part of longer poems with stanza divisions, but only the lines expressive of a philosophy have remained remembered in the oral tradition. Classified with the maxims and proverbs are allegorical stanzas which abounded in all local literatures. They contain homilies, didactic material, and expressions of homespun philosophy, making them often quoted by elders and headmen in talking to inferiors. They are rich in similes and metaphors. These one stanza poems were called Tanaga and

consisted usually of four lines with seven syllables, all lines rhyming. The most appreciated riddles of ancient Philippines are those that are rhymed and having equal number of syllables in each line, making them classifiable under the early poetry of this country. Riddles were existent in all languages and dialects of the ancestors of the Filipinos and cover practically all of the experiences of life in these times. Almost all the important events in the life of the ancient peoples of this country were connected with some religious observance and the rites and ceremonies always some poetry recited, chanted, or sung. The lyrics of religious songs may of course be classified as poetry also, although the rhythm and the rhyme may not be the same. Drama as a literary from had not yet begun to evolve among the early Filipinos. Philippine theater at this stage consisted largely in its simplest form, of mimetic dances imitating natural cycles and work activities. At its most sophisticated, theater consisted of religious rituals presided over by a priest or priestess and participated in by the community. The dances and ritual suggest that indigenous drama had begun to evolve from attempts to control the environment. Philippine drama would have taken the form of the dance-drama found in other Asian countries. Prose narratives in prehistoric Philippines consisted largely or myths, hero tales, fables and legends. Their function was to explain natural phenomena, past events, and contemporary beliefs in order to make the environment less fearsome by making it more comprehensible and, in more instances, to make idle hours less tedious by filling them with humor and fantasy. There is a great wealth of mythical and legendary lore that belongs to this period, but preserved mostly by word of mouth, with few written down by interested parties who happen upon them. The most significant pieces of oral literature that may safely be presumed to have originated in prehistoric times are folk epics. Epic poems of great proportions and lengths abounded in all regions of the islands, each tribe usually having at least one and some tribes possessing traditionally around five or six popular ones with minor epics of unknown number. Filipinos had a culture that linked them with the Malays in the Southeast Asia, a culture with traces of Indian, Arabic, and, possibly Chinese influences. Their epics, songs, short poems, tales, dances and rituals gave them a native Asian perspective which served as a filtering device for the Western culture that the colonizers brought over from Europe.