LESSON 1: PHILIPPINE LITERARY

HISTORY FROM PRE-COLONIAL

TO THE CONTEMPORARY
THINK ABOUT OUR HISTORY …
While looking at the picture,
reminisce your previous
learnings on Philippine
History
WHAT IS IT?
Our forefathers already had their literature, which reflected
in their customs and traditions. They had their alphabet even before
they had been colonized. The Spanish friars burned their alphabet
in the belief that they were works of the devil or were written on
materials that quickly perished, like the barks of trees, dried leaves,
and bamboo cylinders, which could not have remained firm even if
efforts were made to preserve them. Our unique geographic
location is the reason why we are rich and varied.
PRE-SPANISH
LITERATURE
FOLK TALES
These are made up of stories
about life, adventure, love,
horror, and humor where one
can derive lessons about life.
An example of this is THE
MOON AND THE SUN.
THE EPIC AGE
Epics are long narrative poems in
which a series of heroic
achievements or events, usually of
a hero, are dealt with at length.
Example:
Biag-ni-Lam-ang
ASIDE FROM THE AFOREMENTIONED EPICS, THERE ARE
STILL OTHER EPICS THAT CAN BE READ AND STUDIED LIKE
THE FOLLOWING EPICS.
a. Bidasari-Moro epic g. Kumintang-Tagalog epic
b. Biag ni Lam-ang-Ilokano epic h. Parang Sabir-Moro epic
c. Maragtas-Visayan epic i. “Dagoy”at “Sudsod”-Tagbanua epic
d. Haraya-Visayan epic j. Tatuaang-Bagobo epic
e. Lagda-Visayan epic k. Indarapatra at Sulayman
f. Hari sa Bukid-Visayan epic l. Bantugan
FOLK SONGS
These are one of the oldest forms of Philippine Literature that
emerged in the pre-Spanish period. These songs mirrored the early
forms of culture. Many of these have 12 syllables.
Example:
Kundiman, Kumintang o Tagumpay, Ang Dalit o Imno, Ang
Oyayi o Hele, Diona, Soliraning and Talindaw
KUNDIMAN
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 ay may pagbabanta pa.

Pagsinta mo sa akin ay di ko tatanggapin

Pagka’t akong ito ay alangan sa tingin,
Ako ay mahirap, pangit pa sa tingin.
KUMINTANG
Ang nuno nating lahat
Sa kulog di nasisindak,
Sa labanan di naaawat,
Pinuhunang buhay, hirap,
Upang tayong mga anak,
Mabuhay ng mapanatag.
ANG DALIT OR IMNO
Puamanaog-pumanaog
Si Mansilatan
Saka si Badla ay bababa,
Mamimigay ng olakas,
Pasayawin ang mga Baylan,
Pagligiran ng mga Baylan.
ANG OYAYI OR HELE
Matulog ka na bunso
Ang tatay mo ay malayo
Hindi na tayo masundo
Pagkat ang daa’y maputik at mabalaho.
DIONA
Umawit tayo at ipagdiwang
Ang dalawang pusong ngayon ay ikakasal
Ang daraanan nilang landas
Sabuyan natin ng bigas.
SOLIRANING
Hala gaod tayo, pagod ay tiisin
Ang lahat ng hirap pag-aralang bathin
Kahit malayo man, kung aling ibigin,
Daig ang malapit na ayaw lakbayin.

Kay pagkasawing palad ng lanak sa hirap,

Ang bisig hindi iunat
Di kumita ng pilak
OTHER FORMS OF
PRE-SPANISH POETRY
EPIGRAMS (SALAWIKAIN)
These have been customarily used and served as laws or rules on
good behavior by our ancestors. To others, these are like allegories
or parables that impart lessons for the young.
RIDDLES (BUGTONG) OR
PALAISIPAN
These are made up of one or more measured lines with rhyme and
may consist of four to 12 syllables.
CHANT (BULONG)
Used in witch craft or enchantment.
MAXIMS
Some are rhyming couplets with verses 5, 6 or 8 syllables, each line
having the same number of syllables.
Pag Hindi ukol,
Hindi bubukol.

means…

What is not intended for one will not bear fruit.

SAYINGS (KASABIHAN)
Often used in teasing or to comment on a person’s actuations.
SAWIKAIN (IDIOMS)
Sayings with no hidden meanings
SHORTER FORMS
OF FICTION
LEGENDS
Are forms of prose, the common theme of which is about the origin
of a thing, place, location or name. The events are imaginary,
devoid of truth and unbelievable. Its aim is to entertain.
THE LEGEND OF MAKAHIYA
Once there lived a rich couple, Mang Dondong and Aling Iska. They had a
twelve-year-old daughter whose name was Maria. They loved their daughter so
dearly.

Maria was a dutiful and obedient daughter. Industrious and kind, she made
herself endeared to everybody.

But shyness was also one of Maria's distinct characteristics. She was also shy that
talking to people posed a great burden to her. In order to avoid encountering
people, she usually locked herself in the room.
Maria had a flower garden. The flowers were beautiful and known
all over the town. She took care of the plants patiently and tenderly.
For the flower plants were her source of enjoyment and happiness.

One day a group of bandits raided a nearby village. The bandits

killed every man they found at took the money of the residents.

The next day the bandits came to the village where Mang Dondong
and Aling Iska and their daughter Maria lived. Mang Dondong
noticed at once the arrival of the bandits Fearing for Maria's safety,
he decided to hide Maria in the garden, which he did.
Aling Iska hid herself in the house. She trembled with fear when she heard
the bandits forcing their way to the gate. Then she prayed, preparing for
whatever would happen.

"Oh my God!" prayed Aling Iska. "Save my daughter."

Suddenly the door opened. The bandits entered the house and hit Mang
Dondong on the head. Mang Dondong lost consciousness and fell on the
floor. Aling Iska tried to escape but was also hit in the head.

The bandits ransacked every place in the house. After taking the money
and jewelry, they searched for Maria. But Maria was nowhere to be
found. So the bandits left the house to plunder another village.
When Mang Dondong and Aling Iska regained consciousness, the bandits
had left already. They quickly ran to the garden to look for Maria. But
Maria was not there. Again and again, they searched every corner in the
garden but poor Maria could not be found.

"My poor daughter! They took my poor daughter!" wept Aling Iska.

All of a sudden felt something that pricked his feet. To his surprise, he saw
a tiny plant quickly closing its leaves. It was the first time he saw that kind
of plant. He knelt on his knees and took a close look at the plant. Aling
Iska did the same. After looking at the plant for a long time, the couple
came to the belief that the plant was Maria. For indeed Maria has been
transformed by God into a plant to save her from the bandits.
Aling Iska wept uncontrollably and to Mang Dondong's amazement,
every tear was transformed into a small and rosy flower of the new
plant they found in the garden.

Since then Mang Dondong and Aling Iska tended the plant with
utmost care. They knew what the plant was, in reality, their child
Maria. And, like their child, the plant was very shy. So they called
the plant "makahiya" because it showed it showed an important
characteristic of Maria -shyness - which in Tagalog means
"makahiya".
SPANISH LITERATURE
(1565-1898)
Literature in this period may be classified as religious prose and
poetry and secular prose and poetry.
HISTORICAL BACKGROUND
It is an accepted belief that the Spanish colonization of the Philippines started in
1565 during the time of Miguel Lopez de Legazpi, the first Spanish governor-
general in the Philippines. Literature started to flourish during his time. This spurt
continued unabated until the Cavite Revolt in 1872. The Spaniards colonized the
Philippines for more than three centuries. During these times, many changes
occurred in the lives of Filipinos. They embraced the Catholic religion, changed
their names, and were baptized.
Their lifestyles changed too. They built houses mad of stones and
bricks, used beautiful furniture like the piano and used kitchen
utensils. Carriages, trains and boats were used as means of travel.
They held fiestas to honor the saints, the pope and the governors.
They had cockfights, horse races and the theater as means of
recreation.

This gave rise to the formation of the different classes of society like
the rich and the landlords. Some Filipinos finished courses like
medicine, law, agriculture and teaching. Many Filipinos finished their
schooling already had been established.
SPANISH INFLUENCES
ON PHILIPPINE
LITERATURE
Due to the long period of colonization of the Philippines by the Spaniards, they have
exerted a strong influence on our literature.
1. The first Filipino alphabet called ALIBATA was replaced by the Roman alphabet.
2. The teaching of the Christian Doctrine became the basis of religious practices.
3. The Spanish language which became the literary language during this time lent
many of its words to our language.
4. European legends and traditions brought here became assimilated in our songs,
corridos, and moro-moros.
5. Ancient literature was collected and translated to Tagalog and other dialects.
6. Many grammar books were printed in Filipino, like Tagalog, Ilocano and Visayan
7. Our periodicals during these times gained a religious tone.
THE FIRST
BOOKS
1. Doctrina Cristiana (The Christian Doctrine). This was the first book printed in
the Philippines in 1593 in xylography. It was written by Fr. Juan de
Placencia and Fr. Domingo Nieva, in Tagalog and Spanish. It contained the
Pater Noster (Out Father), Ave Maria (Hail Mary), Regina Coeli (Hail Holy
Queen), the Ten Commandments of God, the Commandments of the
Catholic Church, the Seven Mortal Sins, How to Confess, and the Cathecism.
Three old original copies of this book can still be found at the Vatican, at
the Madrid Musem and at the US Congress. It contains only 87 pages but
costs $5,000.0.
2. Nuestra Señora del Rosario. The second book printed in the
Philippines was written by Fr. Blancas de San Jose in 1602, and
printed at the UST Printing Press with the help of Juan de Vera, a
Chinese mestizo. It contains the biographies of saints, novenas,
and questions and answers on religion.
3. Libro de los Cuatro Postprimeras de Hombre (in Spanish and
Tagalog). This is the first book printed in typography.

4. Barlaan at Josephat. This is a Biblical story printed in the

Philippines and translated to Tagalog from Greek by Fr. Antonio
de Borja. It is believed to be the first Tagalog novel published in
the Philippines even if it is only a translation. The printed
translation has only 556 pages. The Ilocano translation in poetry
was done by Fr. Agustin Mejia.
5. The Pasion. This is the book about the life and sufferings of Jesus
Christ. It is read only during Lent. There were 4 versions of this in
Tagalog and each version is according to the name of the writer.
These are the Pilapil version (by Mariano Pilapil of Bulacan,
1814), the de Belen version (by Gaspar Aquino de Belen of Bat.
in 1704), the de la Merced (by Aniceto de la Merced of
Norzagaray, Bulacan in 1856) and the de Guia version (by Luis
de Guia in 1750). Critics are not agreed whether it is the Pilapil
or the de la Merced version which is the most popular.
6. Urbana at Felisa. A book by Modesto de Castro, the so called
Father of Classic Prose in Tagalog. These are letters between two
sisters Urbana at Felisa and have influenced greatly the behavior
of people in society because the letters dealt with good behavior.

7. Ang Mga Dalit kay Maria (Psalms for Mary). A collection of songs
praising the Virgin Mary. Fr. Mariano Sevilla, a Filipino priest,
wrote this in 1865 and it was popular especially during the
Maytime “Flores de Mayo” festival.
FOLK SONGS
Folk songs became widespread in the Philippines. Each region had
its national song from the lowlands to the mountains of Luzon,
Visayas and Mindanao. Folk songs truly manifest the artistic feelings
of the Filipinos. They show the Filipinos’ innate appreciation for and
love of beauty. The examples are Leron-Leron Sinta, Pamulinawen,
Dandansoy, Sarong Banggi and Atin Cu Pung Singsing.
EXAMPLES:
• Leron-Leron Sinta (Tagalog)
• Pamulinawen (Iloko)
• Dandansoy (Bisaya)
• Sarong Banggi (Bicol)
• Atin Cu Pung Singsing (Kapampangan)
RECREATIONAL PLAYS
There are many recreational plays performed by Filipinos during the
Spanish times. Almost all of them were in poetic form. Here are
examples:
TIBAG
the word tibag means to
excavate. This ritual was brought
here by the Spaniard to remind
the people about the search of
St. Helena for the Cross on which
Jesus died.
 LAGAYLAY
this is a special occasion for the Pilareños of Sorsogon
during Maytime to get together.
As early as April, the participating ladies are chosen and
sometimes, mothers volunteer their girls in order to fulfill a
vow made during an illness or for a favor received. In
some parts of Bicol, a different presentation is made but
the objective is the same – praise, respect and offering of
love to the Blessed Cross by St. Helen on the mound she
had dug in.
 THE CENACULO
this is a dramatic performance to
commemorate the passion and death of
Jesus Christ. There are two kinds: the
Cantada and Hablada . In the Hablada
the lines are spoken in a more deliberate
manner showing the rhythmic measure of
each verse and the rhyming in each stanza
and is more dignified in theme; the
Cantada is chanted like the Pasion.
It is written in octosyllabic verse, with 8 verses to the stanza. The
full length versions take about 3 nights of staging. Performers
come in costumes with wigs and performers are carefully chosen
for their virtuous life. One performs the role of Jesus Christ and
another the role of the Virgin Mary. Many famous Cenaculo
players come from the Tagalog regions although there are also
those from Ilocos, Pampanga, Bicol and both Sibulanon and
Hiligaynon.
 PANUNULUYAN
this is presented before 12:00 on Christmas
Eve. This is a presentation of the search of
the Virgin Mary and St. Joseph for an inn
wherein to deliver the baby Jesus.
 THE SALUBONG (OR PANUBONG)
The Salubong is an Easter play that
dramatizes the meeting of the Risen Christ
and his Mother. It is still presented in many
Philippine towns.
 CARILLO (SHADOW PLAY)
this is a form of dramatic entertainment
performed on a moonless night during a town
fiesta or on dark nights after a harvest. This
shadow play is made by projecting
cardboard figures before a lamp against a
white sheet. The figures are moved like
marionettes whose dialogues are produced
by some experts. The dialogues are drawn
from a Corrido or Awit or some religious play
interspersed with songs.
These are called by various names in different places: Carillo in
Manila, Rizal and Batangas and Laguan; TITRES in Ilocos Norte,
Pangasinan, Bataa, Capiz and Negros; TITIRI in Zambales;
GAGALO or KIKIMUT in Pampanga and Tarlac; and ALIALA in
La Union.
 THE ZARZUELA
considered the father of the drama; it is
a musical comedy or melodrama three
acts which dealt with man’s passions and
emotions like love, hate, revenge, cruelty,
avarice or some social or political
proble.
 THE SAINETE
this was a short musical comedy popular
during the 18th century. They were
exaggerated comedies shown between
acts of long plays and were mostly
performed by characters from the lower
classes. Themes were taken from
everyday life scenarios.
 THE MORO-MORO
Like the Cenaculo, the Moro-moro is presented also on a special stage. This is
performed during town fiestas to entertain the people and to remind them of their
Christian religion. The plot is usually the same that of a Christian princess or a
nobleman’s daughter who is captured by the Mohammedans. The father organizes a
rescue party where fighting between the Moros and the Christians ensue. The
Mohammedans are defeated by some miracle or Divine Intercession and the
Mohammedans are converted to Christianity. In some instances, the whole kingdom is
baptized and converted. One example of this is Prinsipe Rodante.
 KARAGATAN
This is a poetic vehicle of a socio-religious nature celebrated during the death of a
person. In this contest, more or less formal, a ritual is performed based on a legend
about a princess who dropped her ring into the middle of the sea and who offered
here hand in marriage to anyone who can retrieve it. A leader starts off with an
extemporaneous poem announcing the purpose. He then spins a “lumbo” o “tabo”
marked with a white line. Whoever comes in the direction of the white line when the
spinning stops gets his turn to “go into the sea to look for the ring.” This means a girl
will ask him a riddle and if he is able to answer, he will offer the ring to the girl.
 DUPLO
The Duplo replace the Karagatan. This is a poetic joust in speaking and reasoning.
The roles are taken from the Bible and from proverbs and saying. It is usually
played during wakes for the dead.
 BALAGTASAN
This is a poetic joust or a contest of skills
in debate on a particular topic or issue.
This is replaced the DUPLO and is held
to honor Francisco “Balagtas” Baltazar.
 THE DUNG-AW
This is a chant in free verse by a
bereaved person or his representative
beside the corpse of the dead. No
definite meter or rhyming scheme is
used. The person chanting it freely
recites in poetic rhythm according to his
feelings, emotions and thoughts. It is
personalized and usually deals with the
life, sufferings and sacrifices of the dead
and includes apologies for his misdeeds.
 THE AWIT AND THE CORRIDO
Some use these two interchangeably because distinction is not
clear.
PERIOD OF
ENLIGHTENMENT
(1872-1898)
In 19th Century, Filipino intellectuals educated in Europe called Ilustrados began
to write about the hitch of colonization.
 THE PROPAGANDA
MOVEMENT (1872-1896)
This movement was spearheaded mostly
by the intellectual middle-class like Jose
Rizal, Marcelo del Pilar, Graciano
Lopez Jaena, Antonio Luna, Mariano
Ponce, Jose Ma. Panganiban, and
Pedro Paterno.
 SOME OF RIZAL’S WRITINGS
• Noli Me Tangere
• El Filibusterismo
• Mi Ultimo Adios
• Sobre La Indolencia Delos Filipinos
• Filipinas Dentro De Cien Años
 SOME OF DEL PILAR’S
WRITINGS
• Pag-ibig sa Tinubuang Lupa (Love of Country)
• Kaingat Kayo (Be Careful)
• Dasalan at Tocsohan (Preyers and Jokes)
SOME OF JAENA’S WRITINGS
• Ang Fray Botod
• La Hija Del Fraile (The Child of the Friar)
• Everything is Hambug (Everything is Mere Show)
• Sa Mga Pilipino … 1891
• Talumpati Pagunita kay Kolumbus (An Oration to
Commemorate Columbus)
THE AMERICAN
REGIME (1898-1944)
Linguistically, Americans influenced Filipino writers to write using
English Language.
HISTORICAL BACKGROUND
• The Filipino Revolutionists won against the Spaniards who colonized
for more than 300 years.
• June 12, 1898 raised the Philippine Flag as a symbol of our
independence. Gen. Emilio Aguinaldo was elected the first
president of the Philippine Republic but this was short lived.
• The Filipino-American War resulted in the defeat of Gen. Miguel
Malvar in 1903. The peace movements started as early as 1900.
• Many Filipino started writing again and the
nationalism of the people remain undaunted.
Filipino writers went into all forms of literature like
news reporting, poetry, stories, plays, essays and
novels. Their writings clearly depicted their love of
country and their longings for independence.
IN 1910
• A new group started to write in English
• Hence, Spanish, Tagalog, the Vernaculars and finally, English, were the
mediums used in literature during these times.
• Writers in Spanish were wont to write on nationalism like honoring Rizal
and other heroes.
• The writers in Tagalog continued in their lamentations on the conditions
of the country and their attempts to arouse love for one’s native tongue.
The writers in English imitated the themes and methods of the Americans.
IN 1920
• The UP College Folio was later replaced by the Philippine
Collegian.
• Dead Stars by Paz Marquez Benitez stand out as a model of
perfection in character delineation, local color, plot and message.
IN 1933
• Footnote to Youth by Jose Garcia Villa
THE ACTIVE AROUSAL IN THE FIELD OF
LITERATURE STARTED TO BE FELT IN THE
FOLLOWING NEWSPAPER:
• El Nuevo Dia (The New Day) established by Sergio Osmenia in
1900. The American censors twice banned this and threatened
Osmeña with banishment because of his nationalistic writings.
• El Grito Del Pueblo (The Call of the Nation) established by Pascual
Poblte in 1900.
• El Renaciemento (The Rebirth) founded by Rafael Palma in 1900.
THERE WERE ALSO PLAYS WRITTEN,
INCLUDED HERE WERE THE
FOLLOWING:
• Kahapon, Ngayon at Bukas (Yesterday, Today and Tomorrow)
written by Aurelio Tolentino
• Tanikalang Ginto of Juan Abad
• Malaya by Tomas Remigio
• Walang Sugat by Severino Reyes
OPENING OF PUBLIC SCHOOLS

Education became a very important issue for the united states

colonial government, since it allowed it to spread their cultural
values, particularly the English language, to the Filipino people. By
1901, public education was institutionalized in the Philippines, with
English serving the medium of instruction.
CHARACTERISTICS OF
LITERATURE DURING THIS
PERIOD
LITERATURE IN SPANISH

a. Cecilio Apostol – Wrote poems

dedicated to Rizal, Jacinto,
Mabini and all other heroes but
his poem dedicated to Rizal is
considered the best poem in
praise of the hero of
Bagumbayan.
b. Fernando Ma. Guerero – It is
believed that Fernando Ma.
Guerrero shared with Apostol
the reign in the Balagtasan in
Spanish during their time.
He also dedicated a poem to Rizal
but he collected the best of his
poems in a book called
CRISALIDAS, meaning, a kind of
black, wooly caterpillar. Here are a
few stanzas of his call to Rizal
which he wrote on June 19, 1901 to
commemorate Rizal’s birthday.
c. Jesus Balmori – He is well-
known for his pen name
of Batikuling. He and Manuel
Bernabe participated in a
debate on the topic –
(Remembrance and
Forgetfulness). He was elected
Poet Laureate in Spanish
besting Manuel Bernabe.
d. Manuel Bernabe – is a lyric
poet and the fierceness of his
nationalistic spirit was
unchanged in any topic he
wrote about. In his debate
with Balmori, he was more
attractive to the public
because of the modious words
he used. He defended
OLVIDO (Forgetfulness).
e. Claro M. Recto – In nobility of
speech and theme, Claro M.
Recto can compare with the
other writers of Spanish. He
collected his poems in a book
entitled BAJO LOS
COCOTEROS (Under The
Coconut Trees).
OTHER WRITERS IN SPANISH
a. Adelina Guerrea was the first woman poet in the Philippines who was good
in Spanish. She obtained the Zobel prize in her song El Nido (The Nest).
b. Isidro Marpori became famous for his four books entitled Aromas de
Ensueño (Scents of Dreams).
c. Macario Adriatico wrote of a legend of Mindoro entitle La Punta de Salto
(The Place of Origin).
d. Epifanio de los Santos (known as Don Panyong). He was a good leader and
biographer during the whole period of Spanish literature.
e. Pedro Aunario wrote the Decalogo del Proteccionismo.
FILIPINO LITERATURE

a. Lope K. Santos – “Father of the National Language Grammar”,

he was also called “apo” of the Tagalog writers. “Banaag at
Sikat” was his master piece.
b. Jose Corazon de Jesus – known as huseng batute, he was called
the poet of love in his time. “Ang Isang Punong Kahoy”, an
elergy, is believed to be his masterpiece.
c. Armando V. Hernandez – was dubbed “Poet of the Laborers”,
his masterpiece is “Ang Panday”
d. Valeriano Hernandez Peña – known as Tandang Anong, he
considers “Nena at Neneng” his masterpiece.
e. Iñigo Ed Regalado – a popular story teller, novelist and
newspaper man. He reach the peak of his success by the
“sumpong” of his pen.
LOPE K. SANTOS

JOSE CORAZON DE JESUS

AMADO V. HERNANDEZ
VALERIANO HERNANDEZ PEÑA IÑIGO ED. REGALADO
JULIAN CRUZ BALMACEDA CLASSIFIED
THREE KINDS OF TAGALOG POETS:
a. Poet of the Heart (Makata ng Puso)
these included Lope K. Santos, Iñigo Ed.
Regalado, Carlos Gatmaitan, Pedro Deogracias del
rosario, Ildefonso Santos, Amado V. Hernandez,
Nemecio Carabana, and Mar Antonio.
b. Poets of Life (Makata ng Buhay)
Led by Lope K. Santos, Jose Corazon de Jesus,
Florentino Collantes, Patricio Mariano, Carlos
Gatmaitan, and Amado V. Hernandez.
c. Poets of the Stage (Makata ng Tanghalan)
Led by Aurelio Tolentino, Patricio Mariano, Severino
Reyes, and Tomas Remigio. In the realm of short stories that
started to appear in the column Pangsandaliang Libangan
(Short-time Leisure) and Dagli (Fast) we find here the names
of Lope K. Santos, Patricio Mariano, and Rosauro Almario. In
the Liwayway Publications, we find Deogracias Rosario,
Teodoro Gener, and Cirio H. Panganiban. Noted novelists or
biographers were Valeriano Hernandez Peña, Lope K. Santos,
Iñigo Ed. Regalado, Faustino Aguilar, etc.
THE PEOPLE ONE SHOULD NOT
FORGET IN THE FIELD OF
WRITING ARE THE FOLLOWING:
a. Severino Reyes. Father of the Tagalog drama
and author of the immortal WALANG SUGAT.
b. Aurelio Tolentino. The dramatist in whom the
Kapampangans take pride. Included in his
writings were LUHANG TAGALOG, his
masterpiece, and KAHAPON, NGAYONG AT
BUKAS that resulted in his incarceration.
c. Hermogenes Ilagan. Founded the group
Campaña Ilagan that presented many dramas in
Central Luzon.
d. Patricio Mariano. Wrote the novel NINAY and
ANAK NG DAGAT (Son of the Sea), his
masterpiece.
e. Julian Cruz Balmaceda. Wrote BUNGANGA NG
PATING (Shark’s Mouth). This gave him much honor
and fame. The Tagalog Short Story Two collections of
Tagalog stories were published during the American
Period. First was the MGA KUWENTONG GINTO
(Golden Stories) published in 1936
and KUWENTONG GINTO ng 50 BATIKANG
KUWENTISTA (50 Golden Stories by 50 Noted
Storytellers) in 1939. The first was written by
Alejandro Abadilla and Clodualdo del Mundo that
contained the 25 best stories according to them.
The second was written by Pedrito Reyes.
PAROLANG GINTO (Golden Lantern) and TALAANG
BUGHAW (Blue List) of Abadilla became popular
during this period.
TAGALOG POETRY

Almost all Tagalog writers during the American Period were able to
compose beautiful poems which made it difficult to select the
best. Even if poetry writing is as old as history, poetry still surfaces
with its sweetness, beauty, and melody.
OTHER FORMS OF LITERATURE THE
FOLLOWING ARE THOSE
RECOGNIZED IN THE FIELD OF
ILOCANO LITERATURE:
a. Pedro Bukaneg. Father of Ilocano Literature. From his
name was derived the word Bukanegan, which means
Balagtasan (a poetic contest) in Ilocano.
b. Claro Caluya. Prince of Ilocano Poets. Known as poet
and novelist.
c. Leon Pichay. Known as the best Bukanegero (from
Bukaneg). Also a poet, novelist, short story writer,
dramatist and essayist.
LITERATURE OF THE KAPAMPANGANS
(PAMPANGO LITERATURE) TWO
STALWARTS IN THE LITERATURE OF THE
KAPAMPANGANS STAND OUT: THEY ARE:
a. Juan Crisostomo Soto. (Father of Kapampangan
Literature). The word CRISOTAN (meaning
Balagtasan) in Tagalog is taken from his name.
b. Claro Caluya. Prince of Ilocano Poets. Known as poet
and novelist.
c. Aurelio Tolentino. He truly proved his being a
Kaampangan in his translation of KAHAPON,
NGAYON AT BUKAS into Kapampangan which he
called NAPON, NGENI AT BUKAS.
THE FOLLOWING ARE THE TOP MEN IN
VISAYAN LITERATURE:
a. Eriberto Gumban. (Father of Visayan Literature).
He wrote a zarzuela, moro-moro and a play in
Visayan.
b. Magdalena Jalandoni. She devoted her talent
to the novel. She wrote ANG MGA TUNUK SAN
ISA CA BULACLAC.
PHILIPPINE LITERATURE IN
ENGLISH
In a way, we can say that we can trace the
beginnings of Philippine literature in English with the
coming of the Americans. For this purpose, we can
divide this period into three time frames, namely:

1. The Period of Re-orientation: 1898-1910

2. The Period of Imitation: 1910-1925
3. The Period of Self-Discovery: 1925-1941
THE PERIOD OF RE-
ORIENTATION (1898-1910)
English as a literary vehicle came with the American
occupation in August 13, 1898 and as they say, a choice
bestowed on us by history. By 1900, English came to be
used as a medium of instruction in the public schools. From
the American forces were recruited the first teachers of
English. By 1908, the primary and intermediate grades
were using English. It was also about this time when UP, the
forerunner in the use of English in higher education, was
founded.
Writers of this period were still adjusting to the new found
freedom after the paralyzing effect of repression of
thought and speech under the Spanish regime. They were
adjusting the idea of democracy, to the new phraseology
of the English language and to the standards of the
English literary style Writers had to learn direct
expression as conditioned by direct thinking. They had to
learn that sentence constructions; sounds and speech in
English were not the same as in the vernacular. They had
to discard sentimentality and floridity of language for the
more direct and precise English language.
Not much was produced during this period and what
literature was produced was not much of literary worth. The
first attempts in English were in two periodicals of this time:

(a) El Renacimiento: founded in Manila by Rafael Palma in

1901.

(b) Philippines Free Press : established in Manila in 1905 by

R. McCullough Dick and D. Theo Rogers. POETRY In 1907,
Justo Juliano’s SURSUM CORDA which appeared in the
Renacimiento was the first work to be published in English.
In 1909, Jan F. Salazar’s MY MOTHER and his AIR CASTLES
were also published in this paper. It was also in 1909 when
Proceso Sebastian followed with his poem TO MY LADY IN
LAOAG, also in this same paper.
THE PERIOD OF IMITATION
(1910-1924)
 By 1919, the UP College Folio published the literary
compositions of the first Filipino writers in English. They were
the pioneers in short story writing.
They were then groping their way into imitating American and British
models which resulted in a stilted, artificial and unnatural style, lacking
vitality and spontaneity. Their models included Longfellow and
Hawthorne, Emerson and Thoreau, Wordsworth and Tennyson,
Thackeray and Macaulay, Longfellow, Allan Poe, Irving and other
American writers of the Romantic School. Writers of this folio included
Fernando Maramag (the best editorial writer of this period) Juan F.
Salazar, Jose M. Hernandez, Vicente del Fierro, and Francisco M.
Africa and Victoriano Yamzon. They pioneered in English poetry.
ESSAYS The noted essayists of this time were: Carlos P. Romulo, Jorge
C. Bocobo, Mauro Mendez, and Vicente Hilario. Their essays were truly
scholarly characterized by sobriety, substance and structure. They
excelled in the serious essay, especially the editorial type.
The next group of writers introduced the informal essay, criticism and
the journalistic column. They spiced their work with humor, wit and
satire. These group included Ignacio Manlapaz, Godefredo Rivera,
Federico Mangahas, Francisco B. Icasiano, Salvador P. Lopez, Jose
Lansang and Amando G. Dayrit.
SHORT STORIES

In the field of short stories, DEAD STARS by Paz

Marquez Benitez written in the early 1920’s stand
out as a model of perfection in character delineation,
local color, plot and message. Other short stories
published during this time were but poor imitations of
their foreign models.
The UP College Folio was later replaced by the Philippine Collegian.
Newspapers and periodicals also saw print during this time like the
Bulletin, the Philippines Herald (1920), the Philippine Review, the
Independent, Rising Philippines and Citizens, and the Philippine
Education Magazine 1924. D. Period of Self-Discovery and Growth
(1925-1941) By this time, Filipino writers had acquired the mastery
of English writing. They now confidently and competently wrote on a
lot of subjects although the old-time favorites of love and youth
persisted. They went into all forms of writing like the novel and the
drama.
POETRY

Noteworthy names in this field include Marcelo de Gracia

Concepcion, Jose Garcia Villa, Angela Manalang Gloria, Abelardo
Subido, Trinidad Tarrosa Subido and Rafael Zulueta da Costa. They
turned our not only love poems but patriotic, religious, descriptive
and reflective poems as well. They wrote in free verse, in odes and
sonnets and in other types. Poetry was original, spontaneous,
competently written and later, incorporated social consciousness.
THE SHORT STORY (1925-1941)

Probably because of the incentives provided by

publications like the Philippine Free Press, The Graphic, The
Philippine Magazine and college publications like the UP
Literary Apprentice, poetry and the short story flourished
during these times.
Other writers during this time include Osmundo Sta. Romana, Arturo
Rotor, Paz Latorena’s Sunset, and Jose Garcia Villa’s Mir-in-isa. From
1930 to 1940, the Golden Era of Filipino writing in English saw the
short story writers “who have arrived,” like Jose Lansang’s The
Broken Parasol, Sinai C. Hamada’s Talanata’s Wife, Fausto
Dugenio’s Wanderlust, Amando G. Dayrit’s His Gift and Yesterday,
Amador T. Daugio’s The Woman Who Looked Out of the Window.
CHARACTERISTICS OF THE SHORT
STORIES DURING THESE TIMES:
There were still remnants of Spanish influence in the use of
expressions that were florid, sentimental, exaggerated and
bombastic. The influence of the Western culture also was
already evident.
ESSAYS AND OTHER PROSE STYLES
(1925-1941)
Essays during this period improved with the years in quality
and quantity, in content, subject and style. Essayists
like Carlos P. Romulo became even more eminent editorial
writers. The notable writers of essays during this period
were:
a. Political, social reflective essays:
Through their newspaper columns the following
became very popular: Federico Mangahas,
Salvador P. Lopez, Pura S. Castrence, Vicente
Albano Pacis, Ariston Estrada and Jose A.
Lansang.
b. Critical essays were espoused by Salvador P.
Lopez, I.V. Mallari, Ignacio Manlapaz, Jose
Garcia Villa, Arturo B. Rotor, and Leopoldo Y.
Yabes. An example of this is Maximo V.
Soliven’s THEY CALLED IT BROTHERHOOD.
c. Personal or Familiar essays were written by F.B.
Icasiano (Mang Kiko), Alfredo E. Litiatco, Solomon
V. Arnaldo, Amando G. Dayrit and Consuelo Gar
(Catuca).
SOME OF THE NOTABLE WORKS DURING
THIS TIME WERE:
1940: Salvador P. Lopez’ LITERATURE AND SOCIETY which
is a collection of critical reflections and serious essays and
which won first prize in the Commonwealth Literary Contest
of 1940.

1940: Camilo Osias published THE FILIPINO WAY OF LIFE,

a series of essays on the Filipino way of life as drawn from
history, folkways, philosophy and psychology of the
Philippines.
1941: F.B. Icasiano (Mang Kiko) was reprints of the best of Icasiano’s
essays in the Sunday Times Magazine under the column From My
Nipa Hut. It is an essay of the common “tao” and is written with
humor and sympathy.
August 16, 1941: Carlos P. Romulo had an editorial printed in the
Philippines Herald . Entitled I AM A FILIPINO, it was reprinted in his
book MY BORTHER AMERICANS in 1945 in New York by Doubleday
& Co.
OTHER ESSAYISTS INCLUDE:

Ignacio Manlapaz, Vicente Albano Pacis, I.V. Mallari, Jose

M. Fernandez, Leopoldo Y. Yabes, Isidro L. Ritizos, Pura
Santillan
The Philippine Writer’s League put out a collection of essays called
Literature Under the Commonwealth. Amando G. Dayrit with his
column Good Morning Judge led others like Leon Ma. Guerrero,
Salvador P. Lopez, Vicente Albano Pacis, Jose A. Lansang and
Federico Mangahas.
BIOGRAPHY 1925-1941 IN 1935

I.P. Caballero and Marcelo de Gracia Concepcion wrote about

QUEZON. In 1938, THE GREAT MALAYAN won a prize in the national
contest sponsored by the Commonwealth of the Philippines. This was
written by Carlos Quirino, the most famous biographer of the period.
He also wrote Quezon, the Man of Destiny.

In 1940, I.V. Mallari’s The Birth of Discontent revealed the sensitive

touch of a writer who in simple language was able to reveal his
profound thoughts and feelings.
HISTORY

Not much about history has been written by Filipino writers. In 1937,
with regard to literary history, we can cite Teofilo del Castillo’s The
Brief History of the Philippine Islands.
PUBLICATIONS

The Philippine Free Press provided the first incentives to Filipino

writers in English by offering prizes to worthwhile contributions.
Other publications followed suit.
THE DRAMA (1925-1941)

Drama during this period did not reach the heights attained by the
novel or the short story. The UP provided the incentives when they
introduced playwriting as a course and established the UP Little
Theater.
THE JAPANESE
PERIOD (1941-1945)
Between 1941-1945, Philippine Literature was interrupted in its development when another foreign
country, Japan, conquered the Philippines. Philippine literature in English came to a halt. Except for
the TRIBUNE and the PHILIPPINE REVIEW, almost all newspapers in English were stopped by the
Japanese.
HISTORICAL BACKGROUND
• During this time, there was no freedom of speech and of the press.
• Victoria Abelardo has described Filipino writing during the
Japanese occupation as being pessimistic and bitter.
• There were some efforts at escapist literature, but in general, the
literary output was minor and insignificant. Because of strict
censorship, few literary works are printed during the war years.
• The weekly Liwayway was
placed under strict surveillance
until it was managed by a
Japanese named Ishiwa.
• The only Filipino writers who could write freely were those who were
living in the United States.
• Most writers and authors were lead to either go underground or
write in Tagalog.
• So, Filipino literature was given a break during this period.
• Filipino literature also experienced renewed attention because
writers in English turned to writing in Filipino.
The drama experienced a lull during the Japanese period because
movie houses showing American films were closed. The big movie
houses were just made to show stage shows. Many of the plays were
reproductions of English plays to Tagalog. The translators were
Francisco Soc Rodrigo, Alberto Concio, and Narciso Pimentel. They
also founded the organization of Filipino players named.
FILIPINO LITERATURE
• Poetry
• Filipino Drama
• Filipino Short Stories
• Philippine Literature in English
FILIPINO POETRY DURING THIS
PERIOD
The common theme of most poems during the Japanese occupation
was nationalism, country, love, and life in the barrios, faith, religion
and the arts.
THREE TYPES OF POEMS EMERGED
DURING THIS PERIOD.

Haiku – a poem of free verse that the Japanese like. It was

made up of 17 syllables divided into three lines. The first line had 5
syllables, the second, 7 syllables, and the third, five. The Haiku is
allegorical in meaning, is short and covers a wide scope in meaning.
Tanaga – like the Haiku, is
short but it had measure and
rhyme. Each line had 17 syllables
and it’s also allegorical in
meaning.
Karaniwang Anyo (Usual Form) – like
those mentioned earlier in the beginning chapters
of this book. It is the usual and Common Form of
Poetry.
FILIPINO DRAMA DURING THE
JAPANESE PERIOD
A few of play writers were:
JOSE MA. HERNANDEZ

wrote PANDAY PIRA

PANDAY PIRA (1483-1576)
First Filipino cannon-maker. He forged the cannons which Rajah
Sulayman used in defending the Muslim Kingdom of Manila against
the Spanish invaders. Born in one of the islands in Southern
Philippines in 1483. He died in 1576.
Panday Pira (1488–1576) was a Muslim Pampango blacksmith who
is acknowledged as "The First Filipino Cannon-maker". His name
literally translates as "Blacksmith Pira", panday being the Filipino
word for "blacksmith".
Panday Pira was a native of the southern islands of the Philippines. He
migrated to Manila in 1508 and established a foundry on the
northern bank of the Pasig River. Rajah Sulayman commissioned
Panday Pira to cast the cannon that were mounted on the palisades
surrounding his kingdom. In 1570, Spanish forces under the command
of Martin de Goiti captured Manila and took these artillery pieces as
war booty, presenting them to Miguel López de Legazpi, the first
Spanish Governor-General of the Philippines.
Legazpi eventually established a permanent Spanish settlement in Manila
on May 19, 1571 and on June 3 of the same year, Rajah Sulayman waged
the Battle of Bankusay Channel to re-capture his kingdom from the
Spaniards. Rajah Sulayman failed in this and perished in the battle. Panday
Pira then fled to Pampanga where he attempted to begin a new life in sitio
Capalangan in the town of Apalit, working as a blacksmith forging farm
implements. He was, however, summoned by Legazpi back to Manila and
put to work forging cannons for the Spaniards. He established his foundry in
what is now Santa Ana. Santiago de Vera, the sixth Governor-General,
commissioned him to cast cannon for the defenses of a fortress he built, the
fortress of Nuestra Señora de Guia (Spanish, "Our Lady of Guidance"),
now called Intramuros. To the Spaniards, Panday Pira was known as
Pandapira, and they exempted him from paying tribute and forced labor.
In 1576, Panday Pira died at the age of 88. His death was a great loss to
the Spaniards who had to petition the King of Spain for a blacksmith to
take his place. It was not until 1584, that a Spanish blacksmith from Mexico
arrived.

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FRANCISCO SOC RODRIGO

wrote SA PULA, SA PUTI

SA PULA, SA PUTI
Francisco "Soc" Rodrigo

About the Author

• Francisco had a colorful career as politician, poet, playwright, essayist

and nationalist. He is popular for his caustic comments on current events,
which he writes in both English and Filipino. He is one of the foremost
exponents of nationalism and was one of the writers censored and
detained during the Marcos regime. He was also one of the youngest to
be elected Philippine senator.
CHARACTERS:
Kulas, an out-and-out sabungero, or cockfighting
addict
Celing, wife of Kulas
Sioning, friend of Celing
Castor, a middleman in the cockpit
Teban, an old manservant of Kulas and Celing
SCENE:
Kulas: Ahem! Er. . . nice morning, isn't it, Celing? How are you?
Celing (dryly): Oh, fine. I feel very fine. Thanks for thinking of me.
Kulas: Oh, come, Celing, that's not a nice way to say it.
Celing: Well, you certainly take a lot of interest in me these days. Usually our first thought is for
your fighting cocks and your last one is for your wife.
Kulas: Come, come, Celing. You have first place in my heart. I know to appreciate a wife like you.
Celing: Really? But when I see you fondle your cocks, I feel envious, I am jealous.
Kulas: But Celing, you know that I only cherish my fighting cocks for our own good.
Celing: What good are you talking about? If it's stewed chicken you're after. I can get good, fat
hens in the market any time. We don't have to get a roster killed in the cockpit and lose money in
the process. I can do the killing myself right here for nothing.
Kulas: Come now, Celing, I don't expect to lose all the time. Look at this cock for example… why it
is a sure winner — its scales are perfect.
Celing: That's the same thing you said about that unbeatable cock you bet ten pesos on last week.
Did you like the way I cooked it?
Kulas: Oh, but that was an accident. Everybody was betting two to one and that cock would win.
And anyway, I'm getting more experience all the time. I know how to choose cocks now. I assure
you, Celing, if only you'll lend ten pesos now, I'll get that money back. Come here, Celing, I'll tell
you a secret. Last night I dreamt that I was being chased by a white carabao— a white one.
Celing: What if it was white?
Kulas: Why, that means silver, and it was chasing me — that means money is coming to me. I can't
lose this time, Celing. I assure you I can't lose. Celing: Ha. Quite interesting.
Kulas: Look here, Celing, don't tell that dream to anybody. You know that if you tell anybody else
about your dreams they never come true.
Celing: But you told me.
Kulas: Oh, well, you are my wife. (Angrily) Who care for dreams anyway? I want some money, Celing.
Do you hear me? I want some money. This cock is a sure winner. It can't lose.
Celing: But we have no more money now. There's no more silver.
Kulas: Oh yes, we have. It's just put away. Give me five pesos and we'll surely— double it. My dreams
cannot fail.
Celing: But, Kulas, last month you dreamt about a snake that coiled itself into a figure eight. The
cockfight was on the eight of February, and you said you were surely going to win, but instead, you lost
eight whole pesos!
Kulas: Well, I made a mistake in selecting the match I should bet in. I should have bet in the eighth
match.
Celing: And did you make a mistake, too, when you dreamt about the red cat? You bet on the red
rooster and lost ten pesos. And now you talk about your white carabaos.
Kulas: Oh, well . . . but this time I'm not banking on dreams alone. I've studied the scales and the ears of
this cock. It's a sure winner, Celing. I tell you, we are going to win this time.
Celing: Kulas, do you remember how sure you were two Sundays.
• ANALYSIS:
• This play is a comedy that comments on people's weakness in a
situation recognizable throughout the country. Its main character is
a sabungero or cockfighter who is addicted to cock pit. This play
tells about how he learns and realizes his foolishness of gambling.
CLODUALDO DEL MUNDO

wrote BULAGA (an expression in the game Hide and

Seek).
JULIAN CRUZ BALMACEDA

wrote SINO BA KAYO?, DAHIL SA ANAK, and

HIGANTE NG PATAY.
THE FILIPINO SHORT STORY DURING
THE JAPANESE PERIOD
The field of the short story widened during the
Japanese Occupation. Many wrote short stories.
As a result of this selection, the following got the first three
prizes:
First Prize: Narciso Reyes with his LUPANG TINUBUAN
Second Prize: Liwayway Arceo’s UHAW ANG TIGANG NA
LUPA
Third Prize: NVM Gonzales’ LUNSOD NAYON AT DAGAT-
DAGATAN
PHILIPPINE LITERATURE IN ENGLISH
(1941-1945)
Because of the strict prohibitions imposed b the Japanese in the
writing and publishing of works in English, Philippine literature in
English experienced a dark period. The few who dared to write did
so for their bread and butter or for propaganda. Writings that came
out during this period were journalistic in nature. Writers felt
suppressed but slowly, the spirit of nationalism started to seep into
their consciousness. While some continued to write, the majority waited
for a better climate to publish their works.
Noteworthy writer of the period was Carlos P. Romulo who
won the Pulitzer Prize for his bestsellers I SAW THE FALL OF
THE PHILIPPINES, I SEE THE PHILIPPINES RISE and his MOTHER
AMERICA AND MY BROTHER AMERICANS. Journalists include
Salvador P. Lopez, Leon Ma. Geurrero, Raul Manglapuz and
Carlos Bulosan. Nick Joaquin produced THE WOMAN WHO
LOOKED LIKE LAZARUS. Fred Ruiz Castro wrote a few poems.
F.B. Icasino wrote essays in The Philippine Review.
CARLOS BULOSAN’S WORKS
INCLUDED:
• THE LAUGHTER OF MY FATHER (1944)
• THE VOICE OF BATAAN (1943)
• SIX FILIPINO POETS (1942)
Among others Alfredo Litiatco published With Harp and Sling
and in 1943, Jose P. Laurel published Forces that Make a
Nation Great. The Commonwealth Literary Awards gave
prizes to meritorious writers.
PERIOD OF ACTIVISM
(1970-1972)
According to Paciano Pineda, youth activism in 1970-1972 was due to domestic
and worldwide causes. Because of the ills of society, the youth moved to seek
reforms.
THE SEED OF ACTIVISM
The seeds of activism resulted in the declaration of Martial Law
in 1972. We can, however, say that he seeds were earlier sown
from the times of Lapu-lapu, Lakandula, and Rizal. The
revolution against the powerful forces in the Philippines can be
said to be the monopoly of the youth in whose veins flow the
fire in their blood. What Rizal said of the youth being the hope
of the Fatherland –is still valid even today.
PERIOD OF THE BLOODY
PLACARDS
Pineda also said that this was the time when the youth once
more proved that it is not the constant evasion that shapes our
race and nationalism.
There is a limit to one’s patience. It may explode like a volcano
if overstrained.
Life? What avails like if one is a coward who does not take a
stand for himself and for the succeeding generations?
THE LITERARY
REVOLUTION
The youth became completely rebellious during this period.
This was proven not only in the bloody demonstrations and
in the sidewalk expressions but also in literature. Campus
newspapers showed rebellious emotions. The once
aristocratic writers developed awareness for society. They
held pens and wrote on placards in red paint the
equivalent of the word MAKIBAKA (To dare!).
They attacked the ills of society and politics.
Any establishment became the symbol of the ills that had to be
changed. The frustrations of youth could be felt in churches and
school.
Even the priests, teachers and parents, as authorities who should
be respected became targets of the radical youth and were
though of as hindrances to the changes they sought.
The literature of the activists reached a point where they stated
boldly what should be done to effect these changes.
Some of those who rallied to this revolutionary form of literature
were Rolando Tinio, Rogelio Mangahas, Efren Abueg, Rio Alma,
and Clemente Bautista.
WRITING DURING THE
PERIOD OF ACTIVISM
The irreverence for the poor reached its peak during
this period of the mass revolution. It was also during
this period that Bomba films that discredit our ways as
Filipinos started to come out.
PERIOD OF THE NEW
SOCIETY (1972-1980)
The period of the New Society started on September 21,
1972. The Carlos Palanca Awards continued to give annual
awards.
Almost all themes in most writings dealt with the development
or progress of the country –like the Green Revolution, family
planning, proper nutrition, environment, drug addiction and
pollution. The New Society tried to stop pornography or those
writings giving bad influences on the morals of the people.
All school newspapers were temporarily stopped and so with
school organizations.
The military government established a new office called the Ministry of
Public Affairs that supervised the newspapers, books and other
publications.
The government took part in reviving old plays like the Cenaculo, the
Zarzuela and the Embayoka of the Muslims. The Cultural Center of the
Philippines, the Folk Arts Theater and even the old Metropolitan Theater
were rebuilt in order to have a place for these plays.
Singing both Filipino and English songs received fresh incentives. Those
sent abroad promoted many Filipino songs.
The weekly publications like KISLAP, and LIWAYWAY helped a lot in the
development of literature. These became outlets for our writers to
publish many of their works.
FILIPINO POETRY DURING THE
PERIOD OF THE NEW SOCIETY
Themes of most poems dealt with patience, regard for
native culture, customs and the beauties of nature and
surroundings.
Those who wrote poetry during this period were: Ponciano
Pineda, Aniceto Silvestre, Jose Garcia Revelo, Bienvenido
Ramos, Vicente Dimasalang, Cir Lopez Francisco, and
Pelagio Sulit Cruz.
Many more composers added their bit during this period.
Among them were Freddie Aguilar, Jose Marie Chan and the
group Tito, Vic and Joey. ANAK of Freddie Aguilar became
an instant success because of the spirit and emotions revealed
in the song. There were even translations in Japanese and in
other languages.
THE PLAY UNDER THE NEW
SOCIETY
The government led in reviving old plays and dramas, like the Tagalog
Zarzuela, Cenaculo and the Embayoka of the Muslims which were presented in
the rebuilt Metropolitan Theater, the Folk Arts Theater and the Cultural Center
of the Philippines.

Many schools and organizations also presented varied plays.

The Mindanao State University presented a play Sining Embayoka at the
Cultural Center of the Philippines.
Metropolitan Theater

Folk Arts Theater

Cultural Center of the Philippines
In 1977, the Tales of Manuvu, a new style of rock of the
ballet opera was also added to these presentations. This was
performed by Celeste Legaspi, Lea Navarro, Hadji
Alejandro, Boy Camara, Anthony Castello, Rey Dizon and
choreographed by Alic Reyes.
Even the President’s daughter at the time participated as a
performing artist in the principal role of Santa Juana of
Koral and in The Diary of Anne Frank.
THE FOLLOWING ORGANIZATIONS
CONTRIBUTED A LOT TO THE DEVELOPMENT
OF PLAYS DURING THIS PERIOD:
1. PETA of Cecille Guidote and Lino Brocka
2. Repertory Philippines: of Rebecca Godines and Zenaida Amador
3. UP Repertory of Behn Cervantes
4. Teatro Filipino by Rolando Tinio
RADIO AND TELEVISION
Radio continued to be patronized during this period. The play series like SI MATAR,
DAHLIA, ITO AND PALAD KO, and MR. LONELY were the forms of recreation of those
without television.
Even the new songs were first heard over the airwaves.
However, many performing artists in radio moved over to television because of higher
pay.
Among these were Augusto Victa, Gene Palomo, Mely Tagasa, Lina Pusing, and Ester
Chavez.
Popular television plays were GULONG NG PALAD, FLOR DE LUNA, and ANNA LIZA.
SUPERMAN AND TARZAN were also popular with the youth.
 FILIPINO FILMS
A yearly Pista ng mga Pelikulng Pilipino (Yearly Filipino Film Festival)
was held during this time. During the festival which lasted usually for a
month, only Filipino films were shown in all theaters in Metro Manila.
Prizes and trophies were awarded at the end of the festival in
recognition of excellence in film making and in role performances.
COMICS, MAGAZINES AND
OTHER PUBLICATIONS
During this period of the New Society, newspapers donned new forms.
News on economic progress, discipline, culture, tourism and the like
were favored more than the sensationalized reporting of killings,
rape and robberies.
AN OVERVIEW OF THE
LITERATUE DURING THE NEW
SOCIETY
Bilingual education which was initiated by the Board of National Education as
early as 1958 and continued up to the period of Martial Rule in September 21,
1972, resulted in the deterioration of English in the different levels of education.
The focus of education and culture was on problems of national identity, on re-
orientation, renewed vigor and a firm resolves to carry out plans and programs.
The forms of literature that led during this period wee the essays, debates and
poetry. The short stories, like the novels and plays were no different in style from
those written before the onset of activism.
PERIOD OF THE THIRD
REPUBLIC (1981-1985)
After ten years of military rule and some changes in the life
of the Filipino which started under the New Society, Martial
Rule was at last lifted on January 2, 1981.
To those in government, the lifting of military rule heralded a
change. To their perceptions, the Philippines became a new
nation and this; former President Marcos called “The New
Republic of the Philippines.”
A historian called this the Third Republic. The First Republic he
claimed was during the Philippine Republic of Emilio Aguinaldo
when we first got our independence form the Spaniards on June
12, 1898.
The Second was when the Americans granted us our
independence on July 4, 1946. This period, January 2, 1981, was
the Third Republic when we were freed from Military Rule.
During this period, it cannot be denied that many people seethed
with rebellion and protest because of the continued oppression
and suppression.
This was further aggravated when former Senator Benigno S. Aquno Jr.,
the idol of the Filipino masses, whom they hoped to be the next
president, was president, was brutally murdered on August 21, 1983.
This stage of the nation had its effect on our literature. After the Aquino
assassinated, the people’s voices could no long be contained. Both the
public and private sectors in government were chanting, and shouting;
women, men and the youth became bolder and their voices were raised
in dissent.

We can say that Philippine literature, in spite of the many restrictions, still
surreptitiously retained its luster.
THE PALANCA AWARDS

The Don Carlos Palanca Memorial Awards for literature which was
launched in 1950 , continued its recognition of the best in the literary fields
–poetry, short story, essays, and the one and three-act plays.

In 1984, the Palanca Awards started choosing the best in novel writing. This
contest, held every three years, gives time for local writers to write more
beautiful and quality works. The next contest on the best novel was held in
1987. La Tondeña continues to be its sponsor.
FILIPINO POETRY

Poems during this period of the Third Republic were romantic and
revolutionary. Writers wrote openly of their criticism against the
government. The supplications of the people were coached in fiery,
colorful, violent, profane and insulting language.
FILIPINO SONGS
Many Filipino songs dealt with themes that were really true-to-life like those of grief, poverty,
aspirations for freedom, love of God, of country and of fellowmen.

Many composers, grieved over Ninoy Aquino’s treacherous assassination composed songs.
Among them were Coritha, Eric and Freddie Aguilar. Coritha and Eric composed a song titles
LABAN NG BAYAN KO and this was first sung by Coritha during the National Unification
Conference of the Opposition in March, 1985. This was also sung during the Presidential
Campaign Movement for Cory Aquino to inspire the movement against Marcos in February 1986.
Freddie Aguilar revived the song BAYAN KO which was written by Jose Corazon de Jesus and C.
de Guzman during the American period.
PHILIPPINE FILMS DURING THE
PERIOD
The yearly Festival of Filipino Films continued to be held during this
period. The people’s love for sex films also was unabated.
Many producers took advantage of this at the expense of public
morality.
POETRY IN ENGLISH DURING THE
THIRD REPUBLIC
Most especially, during the wake of the tragic Benigno Aquino Jr.’s incident,
people reacted with shock, appalled by the suddenness and the
unexpectedness of events.

Alfredo Navarro Salanga, a consistent writer of Philippines Panorama

Magazine in his column “Post-Prandal Reflections” aptly said it: “darkness in
the mind and soul is how some forgotten poet puts it. Its suddenness was so
profound that we couldn’t but react to it in any other way.”
Elemental to us (poets or writers) was how to grasp to some
meaning –in a symbol, a phrase or word –in the language of
heart and tongue, the poet’s only candles. So we tried to reach
out in the next and perhaps the only way we could: by putting
pen to paper and speaking out –as partisans in a human drama.
Poets, surprisingly, by common consent, found themselves writing
on a common subject.
Reproduction of some of them is reprinted here. We aptly call
them Protest Poetry of the ‘80’s. The themes of most during this
time dealt with courage, shock and grief over the “treachery
inflicted upon Aquino.”
MEDIA OF 1983
Sheila S. Coronel, a PANORAMA staff stalwart, reporting on the state
of the media during these times said: it was a year of ferment, and
change, of old problems made more oppressive by the new throbbing
beat of the times.” For journalists, it was a year loaded with libel
charges, lawsuits and seditious trials which they gallantly bore as
harassment suits.
JAJA (Justice for Aquino, Justice for All) Movement called for
a boycott of government –controlled newspapers in protest
of media suppression. People picketed newspapers offices
with coffins to symbolize the death of press freedom.
In campuses, newspapers were set afire to protest lack of
free expression. Journalists suffered physically and otherwise.
Journalists of 3 major dailies demanded a dialogue with their
publishers to “restore credibility and respectability” to
newspapers.
Opposition tabloids flourished. They sold our papers with the
red news to the starved public; hence, smut magazines like
the TIKTIK, PLAYBOY SCENE, and SAKDAL also played the
sidewalks.
Radio led by RADIO VERITAS started reporting coverage of
demonstrations. Information Minister Gregorio Cendaña
called the tabloids the “mosquito press” and called their new
“political pornography.”
However, there was a perceptible liberalization of editorial
policies in the major newspapers.
CHILDREN’S BOOKS
Among the well-loved forms of writing which abounded during this period
were those of children’s stories. The Children’s Communication Center (CCC)
directed by poet and writer Virgilio S. Almario already has built up an
impressive collection of these kinds of books. The following are some of the
books of the period.
1982:PLAYS FOR CHILDREN by Jame B. Reuter S.J. (New Day Pub.)
1983:STORY TELLING FOR YOUNG CHILDREN
1983:JOSE AND CARDO by Peggy Corr Manuel
PROSE/FABLES
The people’s cry of protest found outlets not only in poetry but also in
veiled prose fables which transparently satirized the occupants of
Malacañang. Among those that saw prints were:
1. The Crown Jewels of Heezen hurst by Sylvia Mendez
Ventura
2. The Emperor’s New Underwear by Meynardo A. Macaraig
3. The King’s Cold by Babeth Lolarga
4.The Case of the Missing Charisma (unfinished) by Sylvia L.
Mayuga.
In all the fables, the king, differently referred to as Totus
Markus or the king or Haring Matinik was meant to poke fun
at the ruler at Malacañang; similarly, Reyna Maganda or the
Queen, was a veiled thrust at his queen.
They were both drunk with power and were punished in the
end for their misdeeds.
THE STATE OF PHILIPPINE
LITERATURE IN ENGLISH AT THIS
TIME
Isagani Cruz, writing about Philippine literature in the “Age of
Ninoy,”makes the following observations:
“Philippines literature is definitely changing,” and he summarizes these
as follows:
1. Change in the direction of greater consciousness in content and form.
2. Change in the number of readers and the number of writers and the
kind of class of writers. Writers who joined the ranks came not only from
the established or professional groups but from all ranks –clerks,
secretaries, drivers, housewives, students; in short, the masses.
3. The resurgence of Balagtasismo and the continued dominance of
Modernismo. While Balagtasismo turned its back on the American
challenge to Philippine literature its conservative conventions,
Modernismo adapted Americanization for its own ends.
4. The birth of a new poetic movement still dims in outline.
5. The apparent merging of the erstwhile separate streams of oral and
written literature.
POST-EDSA 1
REVOLUTION (1986-
1995)
1986 EDSA REVOLUTION
The year 1986 demarcates the beginning of new scene in the
unfolding narrative of contemporary Philippine Literature. – It saw the
fall of the dictatorship that President Marcos set up on September 21,
1972, when he placed the Philippines under martial rule, initiating a
regime that did not only suppress the writers’ right to free expression
but also created conditions that made collaboration and cooptation
convenient choices for artists struggling for recognition and survival.
Writing under the Martial Law Regime was characterized by
militancy and belligerence, even when it showed up in the legal
press. Especially after the assassination of Ninoy Aquino in 1983,
the temper of poetry and theatre derived much of its heat and
direction from the political culture of the underground national
democratic movement.

However, when the enemies were overthrown in 1986, the literary

activity showed a certain disorientation manifesting itself in a
proliferation of concerns taken up by individual writers and
groups.
CREATIVE WRITING CENTERS
Academic institutions where Creative Writing is a part of the
curricular offerings.
Writers’ organizations that periodically sponsor symposia on writer
and/or set up workshops for its members and other interested parties
Through these centers that writers get to hear about new
developments in writing, and derive enthusiasm for their crafts.
WRITERS’ ORGANIZATIONS
• UMPIL (Unyon ng mga Manunulat ng Pilipino)
• PANULAT (Pambansang Unyon ng mga Manunulat)
• Panday Lipi
• GAT (Galian sa Arte)
• Katha
• LIRA (Linangan sa Imahe, Retorika at Anyo)
• GUMIL (Gunglo Dagiti Manunurat nga Ilokano)
• LUDABI (Lubas sa Dagang Bisaya)
• PEN ( Pen, Essay and Novel)
POST EDSA
• La Tondeña, sponsors of the venerable Carlos Palanca Memorial Awards
in Literature, has made the name “Palanca” a synonym for quality literary
works in both English and Filipino.
• The National Commission for Culture and the Arts (NCCA) was created by
law in 1992. It has a Committee on Literary Arts which funds workshops,
conferences, publications and a variety of projects geared towards the
production of a “national literature”. The committee has the aim of
developing writing that is multi-lingual, multi-cultural, and truly national.
• Non-governmental organizations have helped hand in hand with some
institutions in giving recognition to writers from specific sectors in the
society. These NGO’s includes the Amado V. Hernandez Foundation; the
GAPAS foundation, and the KAIBIGAN.
• Campus publications are another group of outlet that is of importance
as a source of non-traditional, experimental writing. These campus
publications could either be a weekly student newspapers, quarterly
magazines, or annual literary journals.
• Overall, the character of the Philippine literary scene after “EDSA”
maybe pinpointed be referring to the theories that inform literary
production, to the products issuing from the publishers, to the dominant
concerns demonstrated by the writers’ output, and to the direction
towards which literary studies are tending.
CHARACTERISTICS OF POST
EDSA LITERATURE
1. There is in the academe an emerging critical orientation that draws its concerns and
insights from literary theorizing current in England and the United States
2. Post-EDSA publishing has been marked by adventurousness, a willingness to gamble
on “non-traditional” projects.
3. The declining prestige of the New Criticism, whose rigorous aesthetic norms has
previously functioned as a Procrustean bed on which Filipino authors and their works
were measured, has opened a gap in the critical evaluation of literary works.
4. The fourth and final characteristic of post-EDSA writing is the development thrust
towards the retrieval and the recuperation of writing in Philippine languages other
than Tagalog.
CONTEMPORARY
LITERARY TYPES
CONTEMPORARY LITERARY
TYPES
Modern Poetry – This is a new style of poetry writing in Tagalog, a deviation
from the highly rimed, declamatory tradition known for many centuries.

• Modern Short Story – These are stories set in the Philippines in the English
language
• The Novel
• Essay
• Drama
SHORT STORIES
Ang Pinakahuling Kwento ni Huli (The Very Last Story of Huli) – Lilia
Quindoza Santiago
The Execution – Charlson Ong
Kabilang sa mga Nawawala (Among the Disappeared) – Ricardo Lee
Geyluv – Honorio De Dios
CHARACTERISTICS OF
CONTEMPORARY LITERATURE
• English and Filipino continue to be the major media of literature.
• Literature as a venue for socio-politico-economic-religious discussions and a vehicle for personal
thoughts and feelings has become more marked.
• Literary themes cover a wide range of subjects most outstanding among which are existentialism
and the search for identity in varying levels and settings, deception and violence perpetuated
by those in power, grinding poverty especially in the country-sides and in some cities,
nationalism, tenant-landlord relationship, human rights violation and the search for the
desaparecidos, and the Filipino diaspora and the experiences of overseas Filipino
workers(OFWs) and migrants.
• The Anglo-American tradition, which includes the free verse and the blank verse, gained
acceptance among writers.
• The Euro-Hispanic tradition was blended with the tradition of
propaganda and revolutionary literature to become a truly Filipino
tradition.
• The ‘60s and the ‘70s saw the resurgence of cause-oriented literature.
This militancy, although markedly toned down, has continued to the
present.
• Further development of regional literatures has been given a stronger
impetus through the inclusion of regional literary masterpieces in the
college curriculum.
• Filipino writers have become more conscious of their craft as shown by
the regular conduct of writing workshops (Godinez- Ortega 6).
21STCENTURY
PERIOD
21st century literature per se, is anything that was written and
published in the year 2000s. It is a bit too early to give a
definite and elaborate description of the 21st century literature
in the Philippines and the world. It is possible, however, to
approach contemporary literature as a reaction to and dialogue
with existing forms of expressive culture. As we engage in
technology more and more, we create and discover more existing
forms of expressive culture as well. We have a wide range of
resources through the internet and this gave opportunities to
people, especially the youth, to begin writing and expressing
their thoughts, ideas, and feelings. A perfect example would be
WattPad. It became popular to the Filipino youth in 2006.
The idea is to create an e-book reading application, as e-
books are becoming in demand during that time, however, the
founders thought that it would be time consuming to maintain
their own catalog, so they decided to let the community
decide what they want to read, and they can also upload
their works and content into the application. This had made it
possible for the youth to read more and to start creating their
own compositions.
HERE ARE MORE EXAMPLES OF
LITERARY GENRES IN THE 21ST
CENTURY PHILIPPINE
LITERATURE:
CREATIVE NONFICTION
It’s a rich mix of flavors, ideas, and techniques, some of which are
newly invented and others as old as writing itself. Creative nonfiction
can be an essay, a journal article, a research paper, a memoir, or a
poem; it can be personal or not, or it can be all of these.
SOME OF THE CREATIVE NONFICTION IN
THE PHILIPPINES ARE:
• “The Cardinal’s Sins, the General’s Cross, the Martyr’s Testimony, and
Other Affirmations” by Gregorio C. Brillantes
• “Manananggal Terrorizes Manila and Other Stories” by Jessica
Zafra
• “Sapay Koma” by Jhoanna Lynn Cruz
HYPER POETRY
Hypertext poetry and hypertext fiction are new genres of literature that use the
computer screen as medium, rather than the printed page. The literary works rely
on the qualities unique to a digital environment, such as linked World Wide Web
pages or effects such as sound and movement. Hypertext “poetry” can consist of
words, although not necessarily organized into lines and stanzas, as well as,
sounds, visual images, movement or other special effects. Although the poem may
be dazzling with sounds, perhaps of a lawnmower, while the words “mowing,”
“stop,” “Sunday,” and “morning” float across your computer screen in pseudo-
three-dimensional letters, one will have been hard pressed to identify the use of
any formal poetics.
MOBILE PHONE TEXT TULA
A cell phone novel, or mobile phone novel is a literary work originally
written on a cellular phone via text messaging. This type of literature
originated in Japan, where it has become a popular literary genre.
However, its popularity has also spread to other countries
internationally, especially to China, United States, Germany, and
South Africa. Chapters usually consist of about 70-100 words each
due to character limitations on cell phones.
CHICK LIT
This is genre fiction, which “consists of heroin-centered narratives that
focus on the trials and tribulations of their individual protagonists”.
The genre often addresses issues of modern womanhood – from
romantic relationships to female friendships to matters in the
workplace – in humorous and lighthearted ways.
SOME OF THE CHICK LIT IN THE
PHILIPPINES ARE:
• Spotlight New Adult by Mina V. Esguerra
• Tall Story by Candy Gourlay
• All’s Fair in Blog and War by Chrissie Peria
SPECULATIVE FICTION
It covers all stories from fantasy to science fiction to slipstream to
magic realism to urban fantasy — so on and so forth. In other words
(or in other worlds), it encompasses all the stories that are removed
from the reality that we are currently living in. As the introduction
states, “speculative fiction is a type of story that deals with
observations of the human condition but offers the experience through
a different lens…and challenges us to see what tomorrow could be
like or what the mythic past of our imagination actually is.”
SOME OF THE SPECULATIVE FICTION IN
THE PHILIPPINES ARE:
• Smaller and Smaller Circles by FH Batacan
• Sink by Isabel Yap
• The Secret Origin of Spin-Man by Andrew Drilon
FLASH FICTION
Flash fiction goes by many names, including microfiction, microstories,
short-shorts, short short stories, very short stories, sudden fiction,
postcard fiction and nanofiction. While it can be difficult to pinpoint
an exact definition of flash fiction based on word count, consideration
of several of its features can help provide clarity, like its brevity,
length, background and purpose.
SOME OF THE FLASH FICTION IN THE
PHILIPPINES ARE:
• 100 Kislap, by Abdon M. Balde Jr.
• Karapote: Antolohia Dagiti 13 a Nasuerte A Sarita, by Ariel S.
Tabag
BLOG
A blog (shortening of “weblog”) is an online journal or informational
website displaying information in the reverse chronological order, with
latest posts appearing first. It is a platform where a writer or even a
group of writers share their views on an individual subject.
GRAPHIC NOVELS
The ‘graphic novel’ has existed as an art form arguably from the time
our species learned how to paint. However, the term has only been in
use since the 1960’s, and though it’s often a hotly debated issue, it’s
generally accepted that a graphic novel is a longer work or collection
of works presented in ‘comics’ style.
SOME OF THE GRAPHIC NOVELS IN THE
PHILIPPINES ARE:
• The Mythology Class (Nautilus comics) by Arnold Arre
• Light (Anino comics) by Rob Cham
• Sixty Six (Anino comics) by Russell Molina
• Maktan 1521 by Tepai Pascual
REFERENCES:

• https://21stcenturylitph.wordpress.com/introduction-to-philippine-
literature/#:~:text=21st%20century%20literature%20per%20se,the%20Phil
ippines%20and%20the%20world.&text=It%20became%20popular%20to%
20the%20Filipino%20youth%20in%202006.
• https://www.slideshare.net/JessPalo1/litt-1-
report#:~:text=Post%2DEDSA%20publishing%20has%20been,%22non%2Dt
raditional%22%20projects.&text=The%20fourth%20and%20final%20chara
cteristic,Philippine%20languages%20other%20than%20Tagalog.
• https://artsand21stcenturylit.wordpress.com/2017/09/12/cont
emporary-period-presented-by-group-4/
• https://group4lit1webpage.wordpress.com/period-of-activism-
and-the-new-society/
• https://prezi.com/tjjzh7lzkuje/philippine-literature-under-
japanese-period/
• http://docshare02.docshare.tips/files/15484/154842032.pdf
• https://group4lit1webpage.wordpress.com/the-american-
regime-plus-japanese-and-post-wwii-periods-2/
• https://group4lit1webpage.wordpress.com/the-pre-
spanish-period/
• http://ironmao.weebly.com/uploads/5/4/1/6/54162303
/philit_during_the_spanish_period.pdf
ROCHELL R. PETIL
JHS/SHS TEACHER