Quiz #1

MAELL 722
NAME: ARTICULO, JESSELLE KAYLA DATE: JULY 6, 2019
QUIZ #1
1. What are the three often talked about stages in Philippine literature in English? Give the
characteristics of each stage and explain briefly. (15 pts)
The three often talked about stages in Philippine literature in English are the period of
apprenticeship, the period of emergence or growth, and the period of maturity. The
period of apprenticeship dealt with the linguistic and cultural aspects of Philippine
literature, not in the literary or poetic art because the Filipinos already had
accomplished writers in Spanish, Tagalog, and the other native dialects despite of the
language (English) and subject being imitative. Although, slow in development, the
period of emergence or growth of Philippine Literature in English was apparent with the
fervent pursuit of a poetic terrain fueled by the appeal of independent views in the
English language. And with the constant search for autonomous interpretations in
literature, the period of maturity was forming by the efforts of the writers themselves in
continuously remaking languages and their distinctive subjects.
2. Why did Fr. Bernard say that Philippine literature was “perpetually inchoate”? (10pts)
There were three reasons why Fr. Bernad said that Philippine literature was “perpetually
inchoate”. First, was that the writers couldn’t earn from their writing. Second, the
Filipinos were wavering by numerous languages or had not become skilled enough at
English. Lastly, the Filipinos were culturally disordered or had not nurtured enough of
their own mix of culture.
3. What are the three overlapping phases of Philippine poetry? Who are the known writers of
each phase? Explain the development of each phase briefly. (25 pts)
The three overlapping phases of Philippine poetry are the Romantic spirit, the Formalist
or New Critical strain, and the Open/liberative/post-structuralist strain. The Romantic
spirit implied how the English language and subjects were borrowed for Philippine
poetry which were evident in the works of Fernando M. Maramag and early verses
compiled by Rodolfo Dato in Filipino Poetry (1924). However, writers such as Jose Garcia
Villa, Luis G. Dato, Angela Manalang-Gloria, and Trinidad L. Tarrosa-Subido have moved
away from the influences of American poetry. Another set of writers, Salvador P. Lopez,
Arturo Rotor, Conrado Ramirez along with the four writers mentioned earlier, even with
the sense of identity and detachment from the impact of western poetry, still wrote
with romantic verses hovering over the subject “love” and just added their own special
flair. Later on, writers then ventured to other interests as can be observed in the works
of Ponciano Reyes, Amador T. Daguio, Carlos Bulosan, Rafael Zulueta y da Costa, Jolico
Cuedra, Luis Francia, Auggusta de Almeidda, Edwin Cordevilla, Bienvenido N. Santos,
and Edith L. Tiempo. The Formalist or New Critical strain showed the poetic distance
from the previous phase to the formal perfection of poetry. Although, this American
new criticism has some influences to Filipino poets, it did not confine them because
writers such as Amador T. Daguio, Nick Joaquin, Jose Garcia Villa, Angeles, Bienvenido N.
Santos, Edith L. Tiempo, Cirilo F. Bautista, Ricaredo Demetillo, Dominador I. Ilio, Manuel
A. Viray, and Alejandrino G. Hufana, went through a transformation of structure writing
by their own creative work with language in response to their circumstances than to any
new critical influence and having their own individual mode of expression and own
distinguishing subject. Lastly, the Open clearing strain wherein there is no longer the
existence of any formal constraints in poetry. The reinvention of language and using it to
express or evoke rather than seeing a poem as autonomous, a living and self-contained
form of discourse. The writers from this phase are Edith L. Tiempo, Eduardo Galeano,
Cirilo F. Bautista, Alfrredo Navarro Salanga, Artemio Tadena, Gelacio Y. Guillermo Jr.,
and more.
4. Why was Paz Marquez Benitez’s “Dead Stars” often credited as the turning point for
Philippine short stories? (10 pts)
Paz Marquez Benitez’s “Dead Stars” was often credited as the turning point for
Philippine short stories because it was the first short story that was not derivative of
themes from American & English literature compared to literary works during that time.
Dead Stars appropriately presented a Filipino setting and significantly depicted the
Filipino culture.
5. How would you characterize the changes in Philippine short stories? Outline the
development throughout the different stages. (15 pts)
The primary stages of Philippine short stories were undeniably limited in terms of choice
of topics because they were copied from foreign influences. However, as it sustained to
flourish (as of today), the Philippine short stories became diversified assuming varied
forms and approaches. Below is an outline of the development of Philippine short
stories throughout the different stages as pointed out by Butch Dalisay:
• Filipinos did not only learn the English language swiftly and fittingly, but
used it to tell countless beautiful and unforgettable stories that became
an absolute part of their tradition.
• The short story in English became a significant site of political
engagement infusing literature with a revolutionary mission and
passion.
• “The rise of English prominence, with its attendant factors, sharpened
the fragmentation audience, relegated vernacular fiction to the lower
rungs of the cultural ladder, hampered the growth of the vernaculars in
artistry, and alienated to a significant extent English writers from the
popular culture”. -Mojares
6. What are Butch Dalisay’s observations about the contemporary Filipino short stories? (15
pts)
Butch Dalisay’s fundamental observations about the contemporary Filipino short stories
in English are as follows; first, in terms of form, its influences are from a whole new set
of writers and ways of writing with some Western inspiration, but no longer restrained;
second, in terms of content, the new stories are mainly about the confusing variation of
recounting experiences such as OCWs, Filipino diaspora, war in the countryside,
alienation of middle class, the Chinese and others, connections to the supernatural and
to the afterlife, mixture of personal relationships, sexuality, and art making itself as
subject; third, in terms of treatment, various forms and mindsets are assumed; fourth,
in terms of language, young writers use English blatantly and some write bilingually;
lastly, in terms of publication and of spreading the short stories, the Filipino writers of
today enjoy the many platforms available such as getting published in quite a number of
magazines and journals, workshops, and receiving several grants and fellowships.

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MAELL 722

NAME: ARTICULO, JESSELLE KAYLA DATE: JULY 6, 2019

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