In An Ocean of Emotions: Philippine Drama: Most Learning Competencies

St. Augustine Academy of Pampanga, Inc.
21st Century Literature,

Floridablanca, Pampanga st
A.Y. 2020-2021, 1 Semester (Quarter 1)
Page
MODULE
In an Ocean of Emotions: Philippine
4 Drama
OVERVIEW
PHILIPPINE THEATER Theater in the Philippines is as varied as the cultural traditions
and the historical influences that shaped it through the centuries. The dramatic forms that
flourished and continue to flourish among the different peoples of the archipelago include: the
indigenous theater, mainly Malay in character, which is seen in rituals, mimetic dances, and
mimetic customs; the plays with Spanish influence, among which are the komedya, the
sinakulo, the playlets, the sarswela, and the drama; and the theater with Anglo-American
influence, which encompasses bodabil and the plays in English, and the modern or original
plays by Filipinos, which employ representational and presentational styles drawn from
contemporary modern theater, or revitalize traditional forms from within or outside the country.
The lessons for this module are as follows:

Lesson No. Topic Week 1
Lesson 1 History of Philippine Theatre
Lesson 2 Creative Presentation of Play
Lesson 3 Archipelagic Non Fiction
Lesson 4 Informal Essay
At the end of this module, you will be able to:
ability to identify the representative texts and authors from each

region (e.g. engage
in oral history research with focus on key personalities from the
students’ region/province/town)
MOST LEARNING Compare and contrast the various 21st century literary genres
COMPETENCIES and the
ones from the earlier genres/periods citing their elements,
structures
and traditions
FAITH | SERVICE | EXCELLENCE AD ASTRA PER

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St. Augustine Academy of Pampanga, Inc. 21st Century Literature,
Page
Discuss how different contexts enhance the text’s meaning and

enrich
the reader’s understanding
Produce a creative representation of a literary text by applying
multi-
media and ICT skills
Do self- and/or peer-assessment of the creative adaptation of a
literary
text, based on rationalized criteria, prior to presentation

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PRE-ASSESSMENT
Encircle the letter of the correct answer.
1. A verse telling a story intended for representation by actors through dialogue or action
a. Playwright b. Drama c. Theater d. Cast
2. A person who writes plays

a. Cast b. Director c. Script d. Playwright
3. To make up or perform without preparation
a. Improvisation b. Cut c. Act d. Script
4. Painted curtain without fullness

a. Backdrop b. Set c. Upstage d. Backstage
5. Printed copy of a play

a. Director b. Playwright c. Script d. Drama
6. The major sections of a play

a. Acts b. Scene c. Drama d. Script
7. Clothing worn by an actor on stage to help represent characters

a. Prop b.Sets c. Director d. Costumes
8. Small section or portion of a play

a. Theatre b. Drama c. Scene d. Act
9. A building where a play is performed containing the stage and seating area for the
audience
a. Drama b. Movie c. Theatre d. Stage
10. Female performer

a. Actress b. Actor c. Cast d. Director
11. All performers selected to portray characters

a. Actor b. Actress c. Cast d. Director
12. The language that first set foot on Philippine stages on the onset of the 20th century.
a. English b. Nihonggo c. Spanish d. French
13. The Spanish influence on Philippine theatre is evident in this play.

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a. Sarswela b. Moro-moro c. Vaudeville d. Senaku
14. The first zarzuela in the Philippines is written by..

a. Alberto S. Florentino b. Severino Montano
c. Francisco Asnjo Barberi d. Jose Maria Panganiban
15. It focuses in teaching the English language in the classroom through drama.
a. stage plays b. theatrical plays c. textbook plays d. screen plays

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LESSON
THE HISTORY OF PHILIPPINE THEATER
1
OBJECTIVES:
Appreciate the contribution of the colonial Filipino writers to the development of national literature
Explain the relationship of context with the text’s meaning
Situate the text in the context of the region and the nation
Choose appropriate multimedia forms of interpreting literary text
MATERIALS NEEDED: Textbook: Applied Research: An Introduction to Quantitative Research Methods

and Report Writing, Zoom Application, Google Classroom, Learning Modules, Google forms
DISCUSSION
1. PRECOLONIAL INDIGENOUS DRAMA
 Rituals
 Verbal jousts or games
 Songs and dances praising their respective gods
2. PLAYS WITH SPANISH INFLUENCE
 Comedy or komedya drama as tool for Christianization

 Zarsuela or sarswela drama as pedagogical tool
Drama that capture the imagination and hearts of the
Filipinos
drama to attract people of pueblos
3. PREDRAMATIC FORMS
 Laos
 Declamationes (declamation)
 Oraciones (oration)
 Minimal amount of theatrical expression, yet theatrical nonetheless
 Involved only one person and were not a dramatical as a stage play.
 Done during the arrival and instillation of a holy relic in the country.

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4. Komedya- a play in verse; develop in the year 1598 in Cebu; first komedya by Francisco
Vicente Puche, staged in honor of the first Cebu’s bishop (Fray Pedro de Agurto)
5. Moro- moro- plays that depicts the lives, love, and wars of moors and Christian.
5.1. Indigenized by Filipinos
 Comedia de capa y espada or secular comedy
 Comedia de santo or religious comedies
6. Zarsuela- musical in nature-it is both spoken and sung. The first Zarsuela in the Philippines
was stage in 1878 or 1879 and was written by Francisco Asnjo Barbierri entitled Jugar con
fuego (Play with Fire). Jose Rizal wrote his own zarzuela, entitled Junto al Pasig and was staged
in 1880. In 1893, the Teatro Zorilla was inaugurated as the home of zarzuelas. Filipinos
indigenized the zarzuela and called it the sarswela which a mix or music, prose, dance,
dialogue, and a discussion of contemporary subjects.
7. Writer’s Bloc playwrights’ group who actively inviting young playwrights to also have their
unpublished plays stage in a professional setting, namely the Cultural Center of the Philippines
or CCP. These playwrights have been annually staging the Virginia Labfest, an avenue for new
playwrights to submit their plays and have them staged with professional directors, actresses,
and props.
CREATIVE PRESENTATION OF A PLAY
Here are the steps that you can follow in staging an amateur play.
1. Find a play. Go through your library, old school books, or even the internet to look for a
play that you may like to stage. For an amateur play, you may stage one-act plays that will be
easy to manage and execute. If you are lost for a play you want to stage, you may want to try
Rene O. Villanueva’s short one-act plays such as Kumbersasyon, Tatlo-Tatlo, and his wildly
famous May Isang Sundalo. These are simple one-act plays that have only one setting: it may
be a classroom, a living room, or a bedroom.
2. Find a group who you want to work with. Find a group of at least 10 of your classmates
who are willing to work with you. Make sure that they have their own expertise that they can
bring to help you stage your playacting, lightning, preparing, and making props, taking charge
of the sound system and directing.
3. Assign specific tasks to each of your group mates . Make sure to not overassign or
underassign tasks; assign them to those you think are the best in that particular task. As for
you, you may be the director if you wish or the leader who will oversee all the proceedings of
the production.
4. Make a time line of what you want to accomplish. If your teacher gives you one month
to stage a play, then draw or write a time line of what you want to accomplish every week.
5. Stick to your plan. If in case something goes wrong with your plan, always have a backup
plan or plan B. The key to a successful presentation is to always be ready for anything that may
happen.

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6. Enjoy the presentation! It is also recommended that you give your audience an evaluation
sheet, so that you know what you can improve on for the next presentation. You mat research
an example of an evaluation sheet on the Internet. After your presentation, discuss the
comments in the evaluation sheets with the rest of your team as a post-evaluation step of the
presentation.
ACTIVITY 1
1. 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 problem.
a. Drama b. Nobela c. Moro-moro d. Zarzuela
2. It plays that depicts the lives, love, and wars of moors and Christian.
a. Drama b. Nobela c. Moro-moro d. Zarzuela
3. These are usually done during the arrival or installation of holy relic in the Philippines except
to..
a.laos b. zarzuela c. declamationes d.orationes
4. Actively inviting young playwrights to have their unpublished plays staged in a
professional setting.
a. Writer’s Bloc b. Writer’s Black c. Writer’s Block d. Wrighter’s Bloc
5. The author of the zarzuela entitled Junto Al Pasig
a. Francisco Barbieri b. Jose Rizal c. Fray de Agurto d. Vicente Puche
6. Drama that used to capture the imaginations and heart of Filipinos.
a. a. Drama b. Nobela c. Moro-moro d. komedya
7. Year when the first zarzuela was introduce in the Philippines.
a. 1878 b. 1788 c. 1877 d. 1787
8. This was written by Francisco Asnjo Barbieri and considered as the first zarzuela in
the Philippines.
a. Junto Al Pasig b. Jugar Con Fuego
c. The Adopted Healthy Baby d. Pueblos
9. It was considered as the home of zarzuelas.
a. CCP B. PICC d. Teatro Zorilla d. Pueblos
10. Philippine theatre began with…
a. Spanish Time b. Chinese Time c. Precolonial Time d. Japanese Time
FORMATIVE
ASSESSMENT

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What are the types of Philippine theatre performances in the past and at present? Name
at least 5 and summarize the information that you have gathered here and from other
references in a table
Types of Theater Description Notable Sample Image or Links to

Performance Examples Video Performances
Example:
Traditional Folk originated as an Itik Itik https://youtu.be/
Dances improvised FJIvlTR2HDI
dance in Surigao
del Sur and was
discovered by
National Artist
for Dance
Francisca Reyes-
Aquino

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SYNTHESIS
Philippine theatre takes it roots from precolonial and colonial history. It has been
shaped by the various influences of what people think constitute entertainment: rituals, songs,
dances, comedy, drama, and so much more. From here, local theatre has evolved to be the
form it is today: a modern way to present and mirror Philippine society, on the stage.
You should also acknowledge that theatre has played a big part in the Philippine
literature, for it is in the dramatization of these written works that the general audience are
reaches and enlightened about current contemporary issues that they are experiencing as of
that particular moment in history. Plays are largely historical, in that sense. They portray the
current struggles and triumphs of the Filipino people at the specific time, era, date and event.
Plays can be reminders of your history and more. Plays can awaken the consciousness of the
Filipino people of what is happening around them, how they can participate in it, or what they
can do about it.
References:
Sayuno, C.M.M. (2019). 21st Century Literature from the Philippines and the World second
edition.
Diwa Learning System Inc.

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LESSON
ARCHIPELAGIC NON FICTION
2
OBJECTIVES:
Value the contributions of local writers to the development of regional literary traditions.
Analyze the figure of speech and other literary devices in text
Explain the literary, biographical, linguistics, and sociocultural contexts and show how they enhance the text’s
meaning and enrich the readers understanding
Explain the relationship of the context with the text meaning
MATERIALS NEEDED: Textbook: Applied Research: An Introduction to Quantitative Research Methods

and Report Writing, Zoom Application, Google Classroom, Learning Modules, Google forms
DISCUSSION
 ESSAY
 One of the most popular genres of Philippines and also known as creative
nonfiction.
 A short piece of writing on a particular subject
 Defined as an account of historical, personal and academic events
 Sometimes seen as literary genre that is of lesser form than poetry and fiction.
 Takes the same passion, craft, and artistry as any literary genre.
 It can be in a form of editorials, columns, and bylines.
 MOST POPULAR COLUMNIST WHO ARE KNOWN TO WRITE IN ESSAY FORM

 Conrado de Quiros - Philippine Daily Inquirer
 Jessica Zafra - Philippine Star and Business World
 Patricia Evangelista and Shakira Sison - Rappler
 Carlos Bulosan’s America is in the Heart has always been staple for creative
nonfiction. In his work, he writes about the migration to the United States and
the painful life he has lived there and yet, ends the whole memoir with a
declaration that America will be in the “heart”.
 Carmen Guerrero- Nakpil who has defined essay as something that “what no
other forms of writing seems willing to be.”
 Cristina Pantoja- Hidalgo - the country premiere essayist and stressed out that
the voice of the writer must ring clear, true, and fine all throughout the written
work. A writer’s voice is the distinctive style or personality of written work that
will separate it from other written works. It is an important component of writing
for it shows the essay’s personality such as you would if you were the one telling
the story to someone else. It is one way to make the story truly “your own”.

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 Ma. Elena Paulma is a Palanca first- prize winner for her short strory “Three
Kisses” in 2010.
 The art of writing essays in the Philippines has been through many historical
events. According to Cristina Pantoja-Hidalgo’s scholarly essay, “Breaking
Barriers: The Essay and Nonfiction Narrative,’ during the Propaganda Movement
of the Spanish occupation, the illustrados and the katipuneros wrote essay that
were designed to awaken their fellow countrymen in the newspaper La
Solidaridad. Their essays were written in either Spanish or Filipino, depending on
their target audience. These essay were revolutionary in nature and were
frequently formal ones.
 The Commonwealth Period brought about the rise of the informal essay in the
country. An informal essay is an easy on any topic available and is written in the
author’s own unique style.
 When essay is being written, the authors should have something important to
tell his or her readers and must say it through the use of his or her voice
 In 1937, Alfredo Q. Gonzales released the first ever single-author book of
familiar essays entitled The Call of Heights. It was preceded by Dear Devices in
1933 as the first volume of familiar essays in the country written English.
 Creative nonfictions were stories that reflect ways of life. now it discusses timely
issues and tell stories that news would not cover; stories of struggles and hope,
stories of marginalized, and stories of survival despite the times, to name a few.
 Dr. Jose Dalisay, Jr ( Butch Dalisay)- one of the creative writers who went to
write columns in newspapers in the Philippine Daily Inquirer. His essay about the
position that writers assume in today’s unfortunate times “Penman”.
And the Water Flows in Tiniwisan

By: Ma. Elena Paulma
What I remember the most when I think of Tiniwisan is not the thrill softly singing
birds, the rush of coconut fronds, or mango, sampaloc and baungon leaves in the breeze. Well
there was that, and the silence which was always there beneath the occasional trike, the
momentary roar of passing trucks whooping up a cloud of dust in their wake. But the constant
sound that lay like the endless silence beneath all the other sounds was that of the rushing
water coming from a huge pipe rising out of the earth.
The pipe had two short armas, and like a proud scarecrow minus a head, it stood out
against the flatness of the land and the rest of the world which was sky. That water roared
from the bowels of the earth it seemed, to gust out of the pipes day and night, so cold, and
crisp and clear we would stand beneath its force for what seemed like hours. Many came with
their plastic gallons and earthen jars for the potable water. We filled ours in no time, getting
ourselves drenched on purpose. These eternal water springs dotted the landscape of Tiniwisan
from the Butuan highway intersection down to the wilder parts at the end, a long long way
down the dirt road.
Our elders would talk about running towards those ten forested areas during the
Japanese occupation. One story is about this tree. It roots formed a cavern huge enough for all

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the brothers and sister to hide in. Lolo would cover them with wide anahaw or nipa leaves that
grew near the river while he went out and looked for food.
When they had no time to run that far, they hid in the dug-out made by Lolo behind the
old house. That is why you Lola told us to never cut the Dama de Noche that grows in front of
the hole. It saved our lives many times. Mom never told me where they buried her baby sister
who died during one of the raids, having fallen from my mother’s arms as they ran. Once, when
the whole family tried to escape on a raft down the Agusan River, they were apprehended by
the Japanese. It was the blood coming out of Lola who was in the throes of childbirth that
turned the Japanese away.
In the books it says that in 1943, during the World War II Japanese occupation, Butuan
was razed to the ground when the guerrilla forces attacked the local Japanese garrison. My Lolo
was one of those guerillas, or as my Mom would tell it, he was suspected of being one of the
guerrillas because he would distribute the harvest of his land and share portions of the
slaughtered pig to the families of those who had been captured. He was captured with his
brother and was held for months in Japanese garrison. His brother died, but Lolo survived.
When I was a child, my cousins and I used to stay at Lolo’s uma (farm) for weeks
during summer breaks. From the Butuan city proper, Tiniwisan is several kilometres away,
across the Magsaysay Bridge. Whenever we go to the farm, we pass by houses below the
highway level. There is more sky than land, it seems. There are bright green rice fields, coconut
trees like frozen fireworks against too much sky and mild hills, clumps of fruit tress trying not to
outgrow each other. Above all these, sometimes, a flock of white herons would rise in unioun,
painting white wings on the blue sky, and only for a moment.
There’s a gas station before a left turn onto a road which until now has never been
blessed with a single drop of cement. No sign marks the entrance to Tiniwisan. The dirt road
cuts like an intruder through emerald land stretching out on both sides.
There’s this really long, bumpy, dusty ride, often the only sound and movement amidst
the silence of growing things, past stretches of rice fields, a horizon of hazy trees, luminous
green rice shoots growing close to the edge of the road, coconut leaves slashing past and into
the vehicle, then the line of coconut trees that mark my grandparent’s land, and thick mango
trees guarding two houses from which the children would already be shouting and running
towards the coming vehicle.
When the engine stops, the quiet descends, even with all the children clamouring to
carry the pasalubongs, Mom’s “Kuha ta’g butong!” which means get someone to climb up the
coconut tree for young coconuts, and “Amin!” as my nieces and nephews scramble to touch my
hand to their foreheads. I go to my aunts and uncles (I have nine on my mother’s side, plus
their husbands and wives) to do the same, slapping hands with my thirty or so cousins.
I can remember three figures already waiting by the door upon our arrival: Lolo, Lola,
and auntie Lilia, the eldest aunt. She would say a secret prayer under her breath, to me words
of magic, whenever I touched her hand to my forehead.

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The boys would wake up long before dawn, and challenge each other to a race towards
a small bridge that spanned a brook down the dirt road. Before the dew lifted and the gold
began to settle on all things, they would comeback holding huge black beetles waving their
spindly legs in the air and sometimes, large white worms collected from the inner hollows of
coconut trunks. These were placed on Lola’s fire and the smell of burning beetle or sizzling
worm would mingle with Lola’s rice coffee grains on the dry pan. I have never tasted better
coffee anywhere. The boys ate their beetles, or their worms. The rest of us settled for Lolo’s
law-oy, a collection of boiled and salted winged beans, Ilocano saluyot and camote tops,
harvested from behind the house. Next to my plate would be a saucer with vinegar and fish
sauce. Only Auntie Lilia knew that about me.
Then we would spread out to our different haunts. There were bike rides to my uncle’s
place further down the uneven road. My cousin had said the first time, pointing with his finger,
“It’s just over there, further down the road.” From the way my bottom felt afterwards, it was
much, much further. What was a short distance to those who lived among the fields was very
far to those of us who lived in the City.
Lolo would let us ride on the balsa (a raft-like bamboo box) pulled by his carabao on his
way to the fields. There was a rhythm to the planting of Rice. First, the soil was loosened and
the paddies filled with water. The neighbors would come and there would be rows of them bent
down over the watery mud, the bunch of shoots in their hands becoming straight rows of green
to gold.
Harvest time gathered the people again in row on the fields. The threshers were taken
out and the golden stalks would their golden seeds to be milled and shovelled as white grain
into sacks. The white grains were for selling. The red rice (poor man’s rice) were eaten by the
farmers. There would be mounds of yellow stalks left behind in the fields. And then it was time
again to loosen the earth and fill the paddies with water. Thus, either the rice fields were too
muddy and wet, or too uneven and filled with itchy brown rice stalks to play in.
We preferred Lolo’s yard. We would climb up the huge pile of corn in the small hut that
housed the thresher and the araro. We would quarrel over who would wield the sungkit (a long
bamboo with a bent nail and a net) as we peered up at the many fruit trees surrounding the
house. My ate and I always aimed for the sour fruits. My mouth still waters at the thought of
the firm green flesh that appeared after we crushed the bard brown shell of the sampaloc, or
the plates of tender green iba dipped in salt or eaten right out of the tree.
The fruit we all sat down for was the crunchy green Indian mango dipped in sauces of
our choice- sugar, sugar with soy sauce, plain soy sauce, vinegar, vinegar with sugar, or the
smelly ginamos. The bamboo floor of Lola’s kitchen would creak from the weight of all of us
crowded around the green piles on her wooden table. When the baungon (pomelo) tree that
grew beside the house bore fruit, my uncles would go to the end of the verandah, reach out
and plucks as many as was demanded. Afternoons found us swinging on hammocks under the
thick-leafed mango trees.

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When the coconut leaves began to turn black against a purple pink sky, it was time for
us to turn in. Anyone making too much noise or running too fast would do well to say “Tabi po”
to appease the distributed spirits watching from the shadow of the gathering dusk. Although
the sky was always bright at night when all the gas tapers had been put off, we slept early in
Lolo’s farm. Something huge had flown after Lolo one night while he was coming home from a
school program. Everyone knew it was a wakwak who became one of the neighbors by day.
Once, encantos, had lured Lolo away from the house into the forest, but he was like sensible
enough to take off his shirt and put it on inside out. He had felt like he had been gone for days
but Lola said he had just been gone an hour.
We would lie in a row on mats lining the sala’s wooden floor. Lola would open he lid of
her wooden kaban and hand out carefully washed and starched blankets and fresh pillows. We
would squabble over the stiff and crinkly blankets, all of them of whitr cotton edged with green
cloth or embroidered flowers and smelling faintly of camphor. Lolo would push at the sliding
wooden panels framing the large windows so that they closed edge, keeping away whatever lay
outside in the dark. The tickling and the giggling and the whispering would die down soon
enough. The deep silence would finally reign once more, along with the distant hum of flowing
water.
As we grew up, our haunts would shift from Lolo’s yard to the basketball court near the
barangay hall, the school and the chapel. Especially during fiesta time, there was always
something going on at the basketball court: basketball, volleyball, beauty pageants, and at
night, the baile or dance. They would set up loud speakers as tall as a nipa hut. The houses all
around literally shook from the music that pounded at the night, scaring away wakwaks with
any bright ideas. No need to say “Tabi po” at this time.
The festivities always began on the bisperas or the day before the actual Fiesta. We
would wake up to the squealing of the dying pig, and the baying of a hung goat. All of my
uncles are great cooks and they would rather in the kitchen, chopping the meat, downing cases
of beer or Tanduay, and tasting half of what was cooked. The goat, which is a family tradition,
was the specialty of the eldest, Uncle Au. On any family gathering, we always had goat kilawin,
papait, and caldereta. The children would gathered from the program and the several uncles
and aunties and the playing cards and would we sing and talk till dawn.
With the passing of years, the gatherings would become less frequent. Lolo would die
from old age. Lola refused to leave her bedroom after his death, would follo a few years later.
During the funeral rites, one after the other of two coconut trees that seemed to grow from one
root was felled. They say Lolo and Lola had planted it.
The children, who used to sing “Jingle Bells” for a box of candies and scramble for one
peso coins thrown into the air, would grow up. Everyone would go to college, have families,
settled in other cities, or go abroad. We came back less and less, preferring paved streets to
the rough roads, the fast-paced life to the slowness of the farm, the sophistication to the
roughness that would always be Tiniwasan.

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A cousin has died and two aunts, and Auntie Lilia. All of them are buried near Lolo and
Lola in the cemetery that is reached through muddy and pot-holed road somewhere in the inner
recesses of Tiniwisan. One of the cousins would say “How I wish we came together for reasons
other than burying or dead.’ Sometime we would not see each other for years. Strange, but the
passing of loved one brings us back together.
There are things we have said about each other things we have kept to ourselves,
things we have done and things we have failed to do. But it is always the same every time we
come together again.
There’s the slaughtered goat ( no, two, because one goat is enough for a snack) cooked
in three ways by Uncle Au. Perhaps a goose from Auntine Pine’s flock with her reluctant
approval, roasted, no burned to a crisp in a bonfire by the kids and devoured before anyone
could say “awan ti tinapay” (no more rice in Ilocano). There’s the trip to the beach in
Buenavista. At night, we would awaken to the reviving of my uncle’s pick up and everyone
would troop out for the surprise joy ride through the silent streets of the city across the bridge.
Back in the farm, we would await the dawn while eating ballot and peanuts in the verandah,
telling our stories.
The early morning would bring Nong Tano, the blind man who walks the length of the
tiniwisan road with his basket of pan de sal. Like Uncle Au who insists on walking on the rough
earth barefoot, Nong Tano walks without any guide, not even a walking stick. There are many
of them here, men and women who know the land well, by the touch of their hands as they
push the rice shoots into the ground, by the feel of the watery earth beneath their feet as they
move from one paddy to another.
Nowadays, we walk less about moving away in search of greener pastures. More and
more, as we sit on the stone railing of the verandah watching the first light of daw while the
soft morning mist drifts away from the ripening rice stalks, we talk about coming back. And
building a hut right here in the middle of the rice fields. And growing old here. And dying here.
And being buried in this land.
The water pipes are long gone, and there is talk of these lands being conversted into
subdivisions like many rice fields have bee. But where we are, Dama de Noches still breaths at
night and fill the air with their haunting scents, and some of the mango tress still bear fruit and
the coconut trees are still standing, and the rice still grows on the same land my Lolo and Lola
tilled. And underneath all these, the deepest silence, as the water flows in hidden spring
beneath the earth.
ACTIVITY 1
Answer the Following briefly but substantially.

1. What is the purpose of the author in writing the essay?
_____________________________________________________________________________
_____________________________________________________________________________

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_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
2. What is the central message of the piece?

_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
3. What can you say about the author’s childhood?

_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
4. What is the central subject of the essay? Defend your answer.

_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
5. What are the similarities and differences between the author’s experience of culture and
tradition in Tiniwisan and your own experience?
ACTIVITY 2
Read the selection, and then answer the questions that follow. Write the letter of the correct
answer on the space provided for.
Ripples of Energy
A wave is any movement that carries energy. Some waves carry energy through water.
Others carry energy through gases, like air, or solid materials. If you drop a rock into a pool of
water, a wave, or ripple of energy, skims across the pool's surface. In the same way, an
underwater earthquake can release energy into ocean water. Then it carries a giant wave, or
tsunami, across the surface until it hits land.
If you hear a clap of thunder, sound waves (or vibrations) have carried the crashing
BOOM to your ears. Sound waves speed through the air at about 1,100 feet (335 meters) per
second.
Light also travels through the air in waves. They travel at more than 186,000 miles (300
million meters) per second. So the light waves from a flash of lightning reach your eyes before
that clap of thunder reaches your ears!

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Electrons travel in waves, too. They move back and forth in a solid wire, sending waves
of electricity so you can turn on a light during the storm!
______1. What is the author's most important purpose for writing the selection?
a. to persuade readers to throw rocks into the water
b. to entertain readers with the legend of Wally Wave
c. to explain to readers how to use a surfboard to ride waves
d. to inform readers about different kinds of waves
______2. Which question could best help someone figure out this author's purpose?
a. Did the author give me information?
b. Did I learn how to make an electric light?
c. Did the selection make me feel sad or scared?
d. Did the author want me to make waves?
______3. Which might also have been an author's purpose for this selection?
a. to teach readers why people wave at one another
b. to inform readers about gravity and magnetic pull
c. to persuade readers to study more about tsunamis
d. to entertain readers with a little humor
People Who Need People
Read the selection, and then answer the questions that follow.
Everyone needs help sometime. Humans depend on one another. That's why
communities everywhere have special people to lend a helping hand to anyone who needs it.
For example, what would our citizens do without a community fire department? If a
home catches on fire, as the Jackson place did last week, it might be destroyed and the
inhabitants hurt . . . or worse. We're so fortunate to have trained firefighters to come to the
rescue and put out the fire, safely. If the fire department hadn't come so quickly, the Jacksons
might have lost everything.
And what about our local police who protect our families, our homes, and our
belongings? The police have helped so many families this past year, especially rescuing people
and pets and protecting our property after the flood.
Think about all the other service workers we have in this community. We have
sanitation workers who collect trash and keep our community clean. We have road workers who
put up and repair traffic signs and fix potholes in the streets to protect not just us, but the tires
on our cars! And where would this community be without the teachers in our school and the
doctors, nurses, and technicians in our community clinics?

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We benefit so much from all these tireless workers who keep our community running.
But these services are expensive. As citizens, we pay taxes, it's true, and some of the taxes go
toward buying the services we need. But today, there's just not enough money. Times are hard
and the economy has slowed. Plants are closing and people are losing their jobs and homes.
But citizens still need services!
Many service workers are thinking of leaving and going to other communities where
they'll be paid a better wage, one that allows them to support their families. They can't afford
to live here anymore . . . and we can't afford to let them leave.
We need these people in the community. So join with us today as we petition for
changes to our tax system that will allow our community to keep more of the tax dollars to
invest in service workers who live right here in the community. Please sign our petition now,
and be sure to vote for Proposition 6X1 on Election Day!
______4. What is the author's most important purpose for writing the selection?
a. to entertain readers with an exciting story about a flood
b. to persuade readers to sign a petition about taxes
c. to teach readers how to use the new voting machines
d. to inform readers about what firefighters do
______5. Which question could best help someone figure out this author's purpose?
a. Did the author make me laugh?
b. Did the author teach me what to do in case of fire?
c. Did the author inform me about how to become a teacher?
d. Did the author want me to do something?
______6. If the last paragraph had NOT been written, what do you think the author's purpose
would have been?
a. to explain to citizens who the Jacksons are
b. to thank citizens for paying taxes
c. to remind citizens about the many services they have available
d. to inform readers about the dangers of potholes
______7. Why do you think the author believes readers will sign the petition?
a. because they like firefighters
b. because they are members of the community
c. because they have cars
d. because they need stop signs
______ 8. How does the first sentence give a clue about the author's purpose?
a. It signals that the author may ask readers to do something to help others.
b. It signals that the author is talking about math.
c. It signals that the author is not American.
d. It signals that the selection is fiction.

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FORMATIVE
ASSESSMENT
Time after Time
Read the selection, and then answer the questions that follow.
"I'm so tired," Sabrina said.

"But it's only Monday!" Jake exclaimed. "You can't be tired after that long holiday weekend we
had!"
"It all depends," grumbled Sabrina. "You and your dad went skiing, didn't you? I'll bet you had
a blast!" "We spent hours on the slopes," Jake said with a smile. "What did you do?"
"Do? Do? I had so much to do that I didn't have any time for fun!" Sabrina griped, kicking a
stone to emphasize her unhappiness. (
"Sorry I asked!" Jake countered. "What took up all your time?"
"First of all, my homework," said Sabrina with disgust.
"Homework? We didn't have any homework!" Jake announced.
Sabrina lowered her eyes. "Well, maybe I put off some old homework . . . our science projects
are due tomorrow, and I never got around to doing mine."
"You're kidding!" Jake said. "You hadn't even started it?"
"No," sighed Sabrina. "So I had to go to the library and on the Internet to do research, then
outline the report and write it!"
"Hi!" called Mike and Sarah. Sarah told about her trip to visit her aunt in Boston and Mike
announced that his hockey team won and was going to the championships. "Hey, I didn't see
you at the game, Sabrina," he added. "Did you go away for the weekend, too?"
Sabrina gave a dramatic sigh, "No," she groaned, "I was too busy."
"Doing what?" asked Sarah.
"You'll be sorry you asked," whispered Jake as Sabrina began.
Sabrina moaned about her forgotten science project, helping her dad clean the yard, and
helping to do the laundry. "Oh, I do that, too," replied Sarah. "I read while I wait for the stuff
to come out of the machines."
"But you can't go anywhere or do anything until its done!" Sabrina sighed. "Then I had to baby-
sit my little cousin, Max the Horror, for an hour!"
"So you spent time doing all that stuff," announced Jake, "but you had a whole three days!
Maybe you're thinking too much time about the time you didn't have instead of looking for fun
things you did do!"
"Well, I did watch TV and go to the mall," Sabrina mused. "And I went to see that new movie. I
guess you're right, Jake. I was just frustrated and mad at myself because I hadn't done my
science report earlier."
At school, Sabrina said, "Mr. Hart will probably assign the next science project to be handed in
after spring vacation. If he does, I won't waste a millisecond getting started! Then I can really
enjoy my next time off!"

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Jake smiled, "We'll see, Miss Put-it-off-till-tomorrow! We'll see!"
______ 9. What is the author's purpose for writing the selection?

a. to inform readers about science reports
b. to persuade readers to do a science project
c. to entertain readers with a fiction story
d. to teach readers how to schedule their time
______ 10. Which question could best help someone figure out this author's purpose?
a. Did the author give me new information about a school topic?
b. Did the author teach me how to make something?
c. Did the author ask me to do anything?
d. Did the author tell me a story about kids my age?
______ 11. If the following had been added at the end of the selection, what do you think the
author's purpose would have been for adding it? So remember, dear reader, don't
procrastinate. Never postpone until tomorrow what you can do today!
a. to teach readers that procrastinate means "postpone"
b. to persuade readers to budget their time
c. to amuse readers with a silly saying
d. to inform readers that tomorrow will be better
SYNTHESIS
Essays, just like any Philippine literary genre, deserve their place in the Philippine
literary canon. The essay is one of the most personal and insightful pieces of written work that
has been around since the era of Spanish colonization. We should also note that the essay has
changed throughout the years and has become a vessel for various thoughts and ideals of
Filipino writers and their culture at the time of their writing. It has been a way for revolutionary
propaganda to be shared with common citizens and for national consciousness to be awakened.
The essay has developed itself into two kinds- the formal and informal essay. Whether
the essay is formal or informal, it should have distinct voice that is able to tell what the written
work wants to say clearly. Aside from this, the essay is now an effective way to relate
experiences and stories on a more personal note, whether it is political, cultural, or social.
HOMEWORK
Based on Paulma’s essay, what do you think are the characteristics of creative nonfiction
piece in terms of writing style? To answer this, write a blog post titled TOP 10 TIPS IN
WRITING ABOUT LIFE. In thinking of tips, you might want to take note of Paulma’s way of
sharing story, her supposed target audience, her use of language, her overall message, and
other elements that made the work an effective piece. Output will be share to Google
Classroom.

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References:
edition.
POST-ASSESSMENT
Modified TRUE or FALSE. Write TRUE if the statement is correct and if it is incorrect underline
the word/s that make/s the statement incorrect and write the correct answer on the space
provided for.
_________________1. An informal essay is an easy on any topic available and is written in the
author’s own unique style.

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_________________2. Conrado de Quiros is the popular essayist of Philippine Star.

_________________3. The Spanish Period brought the rise of informal essay in the country.
_________________4. Zarzuela is a play in verse and develop in the year 1598 in Cebu
_________________5. Critical writing discusses timely issues and tells a stories that news
would not cover: stories of struggle and hope, stories of the
marginalized, and stories of survival despite of times.
_________________6. The first zarzuela in the Philippines was written by Jose Rizal.
_________________7. Creative nonfiction is also known as essay.
_________________8. Carmen Guerrero- Nakpil who has defined essay as something that
“what no other forms of writing seems willing to be.
_________________9. Komedya and Moro-more is a drama as tool for Christianization and a
drama that attract people of pueblos.
_________________10. Jose Rizal wrote his own zarzuela entitled Jugar Con Fuego.
ENUMERATION
1-6. Give the steps you can follow in staging a play.
1.
2.
3.
4.
5.
6.
7-10. well known columnist newspaper writers

7.
8.
9.
10.
ESSAY
In your own understanding, what are the points or things that we need to do or prepare
in writing a short paper
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________

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_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________.
ANSWER KEY
Answer Key to the Assessment (But let us cultivate a culture of honesty and integrity)
PRE-ASSESSMENT
1. B
2. D

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3. A
4. A
5. C
6. A
7. D
8. C
9. C
10.A
11.C
12.A
13.A
14.C
15.C
LESSON 1
Activity 1
1. D
2. C
3. B
4. A
5. B
6. D
7. A
8. B
9. D
10.C
LESSON 2
Activity 1
1. To understand where the author came from and who she was.
2. Answers vary
3. Answers vary
4. Answers vary
5. Answers vary
Activity 2
1. D
2. A
3. C
4. B
5. D
6. C
7. B
8. A
9. C
10.D

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11.B
POST-ASSESSMENT (given if formative, if summative no it will be submitted and

checked by the teacher or real-time on online)
I.
1. FALSE- Conrado de Quiros - Philippine Daily Inquirer/ JESSICA ZAFRA- Philippine Star
2. False- Commonwealth Period
3. FALSE- KOMEDYA
4. FALSE- CREATIVE NON FICTION
5. FALSE- FRANCISCO ASNJO BARBIERI
6. TRUE
7. TRUE
8. FALSE KOMEDYA AND ZARZUELA
9. FALSE JUNTO AL PASIG
10. TRUE
II.
1. Find a Play
2. Find a group who you want to work with
3. Assign specific tasks to each of your group mates
4. Make a time line of what you want to accomplish
5. Stick to your plan
6. Enjoy the presentation
7-10. well known columnist newspaper writers

7. Patricia Evangelista
8. Shakira Sison
9. Conrado de Quiros
10. Jessica Safra
III. Answers vary
MODULE
REMAPPING OF PHILIPPINES
5 LITERATURE
OVERVIEW
Some will say it is the “reasoned “consideration or analysis o f l i t e r a r y
t e x t s a n d t h e i r i s s u e s . I t m a y a l s o " e a n a r g u m e n t out a literary work,
which will be proven using the texts and the c u l t u r e o r c o n t e x t t h e t e x t w a s

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w r i t t e n i n o r f o r h e r e i s o n e general agreement among critics, however, when it

comes to any kind of critique' it has to be “ practical “.
Criticism is meant to see what has not been seen before, to say w h a t h a s
n o t b e e n s a i d " b e f o r e , a n d t o c h a n g e w h a t n e e d s t o b e changed. It
interprets meaning in the text and judges the text q uality so that it may "ring forth new
ideas, new realizations, and necessary changes in society One of the earliest works of criticism
is Plato)s argument against the consequences of poetic inspiration in his written entitled
“The Republic“ Up until now, this text is used to guide critics on how text can be interpreted or
what other modes of interpretation can be done.
The function of literary criticism is to examine the merits and demerits or defects of a
work of art and finally to evaluate its worth. The chief function of criticism is to enlighten and
stimulate. The true critic is the one who is equipped for his/her task by a sound knowledge of
his subject. The true critic can discover the qualities of power, beauty and depth of significance.
S/he can give us a fresh point of view. S/he is sometimes a path finder, breaking new ground,
with a friendly passion. As such the primary functions of literary criticism are interpretation and
judgment. Another important factor to note is that the view of criticism is directly related to the
critic’s own intellectual philosophy or outlook of life. It is determined by the likes, dislikes, and
prejudices of the critic him/herself and this is equally shaped by the socio-political sensibilities
of the critic’s environment. As such, critical theories are shaped by the spirit of the age.
The lessons for this module are as follows:
Lesson No. Topic Week 1
Lesson 1 Literary Criticism and Functions of Literary Criticism 1 hour/day
Lesson 2 Writing a Critical Paper 1 hour/day
At the end of this module, you will be able to:

Discuss how different contexts enhance the text’s meaning and
MOST enrich
the reader’s understanding
LEARNING Produce a creative representation of a literary text by applying
COMPETENCIES multi-
media and ICT skills
Do self- and/or peer-assessment of the creative adaptation of a
literary
text, based on rationalized criteria, prior to presentation
PRE-ASSESSMENT
Let’s find out how much you already know about this module. Encircle the letter that you think
best answers the question. Please answer all items. After taking this short test, you will see
your score.
Take note of the items that you were not able to correctly answer and look for the right answer
as you go through this module.

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1. All of the statements define literature except _________

a. It is a term used to describe written or spoken work.
b. It is used to describe anything from creative writing to more technical or scientific works
c It is used to refer to works of the creative imagination, including works of poetry, drama,
fiction, and non-fiction.
d. It is a term used to give authors freedom to make their own genre.
2. What does literature represents?

a. It represents a language or a people's culture and tradition.
b. It represents the policy of every government in each country.
c. It represents the personal opinion of the persona used in a written work.
d. It represents the creation of everything in this world.
3. It is a brief fictional narrative that is shorter than a novel and that usually deals with only a
few characters.
a. Poetry b. Prose c. Ballad d. Short Story
4. It is the type of literature that expresses ideas, feelings, or tells a story in a specific form
(usually using lines and verses).
a. Prose b. Literature c. Poetry d. Creative Non-fiction
5. It emphasizes the form of a literary work to determine its meaning, focusing on literary
elements and how they work to create meaning.
a. Formalist b. Feminist c. Archetypal d. Historical
6. Criticism is concerned with the role, position, and influence of women in a literary text.
a. Marxist b. Feminist c. Gender d. Historical
7. Read the selection: What is the message of the given part from "I am a Filipino"?
I AM A FILIPINO
By: Carlos P. Romulo
I am a Filipino–inheritor of a glorious past, hostage to the uncertain future. As

such I must prove equal to a two-fold task–the task of meeting my responsibility
to the past, and the task of performing my obligation to the future.
I sprung from a hardy race, child many generations removed of ancient Malayan
pioneers. Across the centuries the memory comes rushing back to me: of brown-
skinned men putting out to sea in ships that were as frail as their hearts were
stout. Over the sea I see them come, borne upon the billowing wave and the
whistling wind, carried upon the mighty swell of hope–hope in the free
abundance of new land that was to be their home and their children’s forever.

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a. Introduction of Filipino
b. Responsibilities of a Filipino
c. Who are the Filipinos before
d. Role of Filipinos
This is the land they sought and found. Every inch of shore that their eyes first
set upon, every hill and mountain that beckoned to them with a green-and-
purple invitation, every mile of rolling plain that their view encompassed, every
river and lake that promised a plentiful living and the fruitfulness of commerce,
is a hallowed spot to me.
By the strength of their hearts and hands, by every right of law, human and
divine, this land and all the appurtenances thereof–the black and fertile soil, the
seas and lakes and rivers teeming with fish, the forests with their inexhaustible
wealth in wild life and timber, the mountains with their bowels swollen with
minerals–the whole of this rich and happy land has been, for centuries without
number, the land of my fathers. This land I received in trust from them and in
trust will pass it to my children, and so on until the world is no more.
a. Resources of the Philippines

b. Geography of the Philippines
c. Philippines' natural resources and geography as a whole.
d. History of the Philippines
I am a Filipino. In my blood runs the immortal seed of heroes–seed that flowered
down the centuries in deeds of courage and defiance. In my veins yet pulses the
same hot blood that sent Lapulapu to battle against the first invader of this land,
that nerved Lakandula in the combat against the alien foe, that drove Diego Silang
and Dagohoy into rebellion against the foreign oppressor.
That seed is immortal. It is the self-same seed that flowered in the heart of Jose
Rizal that morning in Bagumbayan when a volley of shots put an end to all that was
mortal of him and made his spirit deathless forever, the same that flowered in the
hearts of Bonifacio in Balintawak, of Gergorio del Pilar at Tirad Pass, of Antonio
Luna at Calumpit; that bloomed in flowers of frustration in the sad heart of Emilio
Aguinaldo at Palanan, and yet burst fourth royally again in the proud heart of
Manuel L. Quezon when he stood at last on the threshold of ancient Malacañan
Palace, in the symbolic act of possession and racial vindication.

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a. Heroes of the past.

b. Heroes who fight for the freedom of the Philippines
c. Filipinos are inherently heroes
d. Bravery and sacrifices of some Filipinos and being a Filipino
I am a Filipino, child of the marriage of the East and the West. The East, with its
languor and mysticism, its passivity and endurance, was my mother, and my sire
was the West that came thundering across the seas with the Cross and Sword and
the Machine. I am of the East, an eager participant in its spirit, and in its struggles
for liberation from the imperialist yoke. But I also know that the East must awake
from its centuried sleep, shake off the lethargy that has bound his limbs, and start
moving where destiny awaits.
For I, too, am of the West, and the vigorous peoples of the West have destroyed
forever the peace and quiet that once were ours. I can no longer live, a being apart
from those whose world now trembles to the roar of bomb and cannon-shot. I
cannot say of a matter of universal life-and-death, of freedom and slavery for all
mankind, that it concerns me not. For no man and no nation is an island, but a
part of the main, there is no longer any East and West–only individuals and
nations making those momentous choices which are the hinges upon which history
resolves.
a. The influence of the colonizers in the Philippines
b. The influence of the Philippines to the colonizer
c. The Filipino's Influence to the American Colonizers
d. none of the above

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LESSON
Literary Criticism and Functions of
1 Literary Criticism
OBJECTIVES:
Identify the geographic, linguistic, and ethnic dimensions of Philippine literary history
from precolonial to contemporary
Value the contributions of local writers to the development of regional literary
traditions.
Differentiate the various 21st century literary genres and the ones from the earlier
genres or periods citing their elements, structures, and traditions
MATERIALS NEEDED: Textbook: Applied Research: An Introduction to

Quantitative Research Methods and Report Writing; Zoom Application; Google
Classroom; Learning Modules; Google forms
DISCUSSION
LITERARY CRITICISM
Criticism plays a vital role not only in literature but in the culture itself. It has set the
mode for certain eras and their particular tendencies: the Victorian Era and its romanticism, the
Renaissance and its humanist people, and the postmodern era and experimentation with art.
Criticism, often interwining both literary and cultural, has set the mode for most of the culture
that has been lived before you were born and the culture you will be living in the future.
Literary criticism is the reasoned consideration or analysis of literary text and their
themes or issues. It may also be an argument about a literary work, which will be proven using
the text and the culture or context the text was written in or for. There is one general
agreement among critics, however, when it comes to any kind of critique: it has to be practical.
Criticism is meant to see what has not been seen before, to say what has not been said before,
and to change what needs to be changed. It interprets meaning in text and judges the text’s
quality so that it may bring forth new ideas, new realization, and necessary changes in society.
One of the earliest works of criticism is Plato’s argument against the consequences of
poetic inspiration in his writing entitled The Republic.
FUNCTIONS OF LITERARY CRITICISM

Literary criticism may be the simple review of books that you often read online or in
local newspapers, or a systematic theoretical discussion of a story’s impact on society. These
reviews usually determine if a book will be widely sold or acclaimed, though at times they do

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not serve as a precedent to the best seller’s status of the book. Criticism is everyday
newspapers may also summarize the worth of a book, or support or deconstruct a publisher’s
claim about a given book.
 Literary criticism reevaluates any given text. This is to shed new light or to give new
meanings to old texts. Sometimes, literary criticism lets you seek the function old texts
in modern society. The literary critic becomes a scholar who works through old drafts
and manuscripts, and edits all of them so that they may be reevaluated. This, when
accomplished, may bring old text to the new public’s attention.
 Literary criticism used to invoke discussions, reassess society, and redefine culture
based on a literary text. These kinds of sustained criticism may be found in bimonthly or
even annual magazines or journals, which oftentimes have specialized topics. These
kinds of criticism are usually available to the academe, although some do end up in daily
paper or mainstream magazines.
 Literary Criticism may also dip its toes into social and political arguments, especiually if
the literary work is social or political in nature. Because literary criticism is highly
interdisciplinary in nature, it is not afraid to transgress boundaries to argue a point and
it also bravely follows where the literary text goes. Some forms of critical work done in
the Philippines have dealt with the following: the abuse of overseas foreign workers;
marginalization of women and/or members of the lesbian, gay, bisexual, and
transgender community; the environmental degradation and injustice; and even
postcolonial theories that dispute the years of colonization in which the country has
endured.
 Critics may be seen as lawgivers when it comes to books, stories, poems, and the like.
They may pass judgement based on their informed critical lenses and can make or break
a writer. Even if writers, in the truest sense of the word, are owners of their own work,
critics may still persuade the public to place their own judgements on the work,
according to how they see fit. That is how powerful criticism is in society.
ACTIVITY 1
Answer the following briefly but substantially.
1. What is literary criticism?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
2. What are characteristics of a literary criticism in terms of content and language?
__________________________________________________________________________
__________________________________________________________________________

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__________________________________________________________________________
3. How can a literary criticism be used to better understand a literary piece?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
ACTIVITY 2
1. What is the difference between a writer and a critic? What are their respective purposes
and functions? Differentiate these two persons using a table.
WRITER CRITIC
FORMATIVE
ASSESSMENT
Encircle the letter of the correct answer
1. These are the different perspectives we consider when looking at a piece of literature.
a. Literary Theories b. Literary Criticisms c. Critical approach
2. They seek to give us answers to these questions, in addition to aiding us in interpreting

literature except...
a. Why do we read b. How do we read c. When do we read d. What do we read
3. The Criticism that asserts that a great deal of meaning in a text lies with how the reader
responds to it.
a. Reader-Response b. Reading-Response
c. Responsive-Reading d. Reading-Response
4. A Criticism that views a text as a revelation of its author’s mind and personality. It is based
on the work of Sigmund Freud.
a. Psychological b. Physiological c. Phsycological d. Physio
analysis

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5. A Criticism that argues that we must take an author’s life and background into account when
we study a text.
a. Biological b. Biographical c. Bio data d. Biology
SYNTHESIS
Literary criticism is often ignored in Philippine literature. Literary criticism, however, is
essential because it not only informs the readers of what they may discover through literary
text, but also shapes society for it criticizes the context in which the text was written in. there
are many functions of literary criticism. It may be to review a literary text, to give an informed
opinion about a subject matter or issue, to invoke discussions or to reevaluate texts.
HOMEWORK
Read a discussion on THE REPUBLIC at http://www.iep.utm.edu/republic/ or look for

other online references about the text. Answer this question: “How can a text be interpreted?”
Answer will be submitted thru Google classroom
References:
edition.
LESSON
Writing a Critical Paper
2
OBJECTIVES:
Write a critical paper
MATERIALS NEEDED: MATERIALS NEEDED: Textbook: Applied Research: An

Introduction to Quantitative Research Methods and Report Writing; Zoom Application;
Google Classroom; Learning Modules; Google
FAITH | SERVICE | EXCELLENCE
forms AD ASTRA PER
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DISCUSSION
Literary criticism does not look at literature as way to proliferate a didactic message.
This means that literary criticism does not solely look at a text to see if it has message to say to
the reader and whether this message is good or bad. Literary criticism also does not always
have to delve into religious or nationalistic interpretations- it can be anything about the literary
text on hand as long as it is within the text.
A short paper is literally “short”. It consists of one or two pages of written critique that
will succinctly discuss your idea, realization, or concept regarding a literary election.
HOW TO START A SHORT PAPER
1. Always begin with an outline. What do you want to say, how do you want to say it? This
outline is tentative and may always change as you keep on writing your paper. The important
thing with an outline is that you can clearly follow it as you write along.
2. Start with a joke, an anecdote, or a quotation from the literary text as your introduction. The
idea is to hook your readers so that they will be more willing to listen to your idea. After this,
quickly state as a way of sign posting (or letting the reader know what you are going to write
about in your paper) what your concept is and how it is related to the literary text. Tell them,
too, if you already have a hypothesis or a conclusion in mind. You may also give a background
of the study, especially if it hasn’t been read yet by your classmates, in the introduction. But
make sure it is short (2 pages at the most) because you only have two pages to write about
your whole analysis.
3. The body of your essay must try to discuss the relation of your idea with the literary text.
What has your idea discovered about the literary text? How the literary text is show you or
enlighten you about your idea? What can your idea say about local culture and society? What
other future research topics can be established from your idea? The body is critical in your
analysis. If you need to quote from the literary text that you have chosen, do so carefully by
choosing which are essential to develop your argument.
4. The conclusion is just like any conclusion when you are writing an essay-summarize what
you have said or discussed in the body in two to three sentences. You may also want to
conclude by referencing your introduction (the joke, anecdote, or quotation), so that it
“sandwiches” your idea and is more appealing to the readers. You may also suggest future
research projects for your readers, which they may undertake if they are interested in your
topic.
An example of a short critical paper is J. Neil Garcia’s “Revaluing Value,” which can be
found in the introduction of Likhaan: The Journal Contemporary Philippine Literature, a referred
journal that showcases various unpublished Philippine writing, both in Filipino and in English.

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Dr. J. Neil Garcia is a poet and a literary and cultural critic who has written numerous
collections of poetry and essays. He is currently teaching creative writing and comparative
literature at the University of the Philippines Diliman, where he also serves as an associate for
poetry in the Institute of Creative Writing. He has won several literary awards including the
Palanca and the National Book Award from the Manila Critics Circle.
Revaluing Value
An Introduction to Likhaan: The Journal of Contemporary Philippine
LKiterature
By Dr. J. Neil Garcia
At an important public lecture in the University of the Philippines Diliman campus last
August, one of the policy recommendations made by the speaker was the continued and
intensified support not only of STEM (Science, Technology, Engineering, and Mathematics) but
also of the Social Sciences.
The speaker did not recognize the Humanities, which occurred nowhere in his
painstakingly assembled survey, that correlated the generally disappointing figures of UP
Diliman’s science PhD programs with their respective research outputs. The College of Social
Sciences and Philosophy was accounted for, as was the Philippine Studies program, with which
he conflated it. This part of his survey was misleading, because Philippine Studies in our
university, from its inception, has always drawn as much from the Humanities as from the
Social Sciences, being co-administered by the CSSP with two other colleges—both of which
profess avowedly humanistic orientations.
Nonetheless, the oversight is a familiar one: it simply attests to the secondary and even
epiphenomenal position occupied by the disciplines of the arts and humanities in a national
education system that has come to see progress and development as being the privileged
province and exclusive responsibility of the scientific—as opposed to the creative—persuasions.
And yet progress and development, even when they are understood in strictly economic
terms, cannot be equated with the promotion and growth of the sciences alone. At the first
system-wide UP Knowledge Festival, held in Tagaytay last April, the participants from UP’s
different constituent universities heard from two plenary speakers inventories of hard data that
showed just how supporting the arts—and the creative industries that they generate—makes
sound economic sense, especially in the knowledge regimes of this new century.
The clarion call was sounded: there really is no reason why the University of the
Philippines should not promote the growth and welfare of its humanities programs, as well as

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their resident artists and scholars, because viii Likhaan 10 the creative industries—whose
components are already in evidence across its campuses—may well hold the key to improving
the lives of the vast majority of our people, who continue to be uneducated and poor.
It’s easily apparent that the University of the Philippines hosts the country’s highest
density of resident writers, visual and digital artists, musicians, performers, content providers,
animators, cultural critics, curators, filmmakers, theorists, directors, designers, and architects,
all of whose intellectual properties can be harnessed and cultivated to contribute even more
significantly to our country’s economy, as the works of creative already unmistakably do, in
many other parts of the world. These artistic products and processes collectively constitute our
national culture, which migratory technologies and populations offer the opportunity of
becoming globally disseminated and consumed, especially through the agency of diasporic
Filipinos located in every other corner of the planet.
Among other things, the mission of artists is to promote forms of embodied, “imaginal,”
and creative literacy, that serve to complement as well as provide a solid foundation for the
other more abstract and propositional forms of literacy (for example, the numerate and the
experimental). As such, they bridge the historical, cognitive, and ontological gaps between our
enduring orality on one hand and our uneven and precarious literacy on the other, bringing into
the durable media of the contemporary arts the stories, insights, and rituals of our country’s
copious and immemorial cultures, whose deepest intuition recognizes the dualisms of our world,
even as in the same breath it seeks to transcend them, by yearning into the radiance of the
unity that underlies all forms.
On the other hand, we perhaps also need to remember the truth that value—a crucial
buzzword in that selfsame Knowledge Festival—cannot be reduced to the merely monetary or
the monetizable. Because humans are symbol-making creatures capable of inwardness and
sublime vision, for our species value can also be and is, in many important ways, intangible.
Despite the convincing purchase of the “creative industries” argument, we need to ask
ourselves, precisely in regard to this issue: Should the arts or the humanities be justified only
because they can be said to constitute their own “economy”? What is happiness? Why do we
crave “connectedness” and love? What is gratitude? Why must we strive for empathy? What
constitutes fulfillment? Where do rapture and awe come from? What makes a fully human or
even just a “livable” life? Given the socioeconomic pressures that higher education Revaluing
Value: An Introduction ix in our country is increasingly needing to bear, we need to believe that
there remains institutional room, especially in this esteemed university, for the short story,

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poem, or play that cannot be remotely instrumentalized, and yet insists on raising these and
other similar questions— whose most likely value, in turn, is that they can be raised at all …
I am reminded of a high school classmate and friend—an accomplished scientist who
has been living overseas for a couple of decades now. He visited me in my tiny and unkempt
office in the ill-lit (and ill-fated) Faculty Center a couple of years ago, and after I toured him
around the spanking new buildings of the science and engineering complexes, he calmly told
me (obviously meaning to commiserate): “It is you, in the humanities, who make life
meaningful; while it is we—the scientists—who make life possible.” Even now, the second part
of his sentence still gives me pause. Isn’t everything named—that dawns in our consciousness—
meaning? Who gave scientists their idea of possibility, when before anything can be engineered
or assembled it first has to be imagined? The “we” in his sentence: where might he have gotten
it? How are intuitions of collective life acquired? And what of life itself? Surely it’s not just about
protoplasm, the convergence of physical and biochemical processes, or the replication of
genetic material. Finally, “making” is something artists do all the time. We who study and
produce literature sometimes call it poiesis: artistic creativity is (as Aristotle once put it) the
bringing into being of something new in the world.
One of the simplest and truest “lessons” in that wonderful Knowledge Festival wasn’t
entirely unforeseen; indeed, the abundant folklore and mythology of our peoples, and the
paradoxical procedure of most artists, have always attested to it: there is a rudimentary
“oneness” in Nature that defies both analytical decomposition and disciplinal boundaries. The
contact zones between the arts and the sciences are multiple and fascinating and in constant
flux, and they bid us to see that both “realms” of experience are important—trafficking mutually
as they do in analogical modes of thinking and perceiving. Thus, they should not be made to
compete with one another. We dignify our world—and ourselves—by recognizing wholeness.
We parse and hierarchize knowledge to our own peril. In the words of National Artist Edith
Lopez Tiempo, “Truth is the world believed: / only what the eye sees, / and the heart
approves.”
While UP has certainly made great and admirable strides in equalizing incentives and
opportunities among its constituents, a paradigm shift is x Likhaan 10 necessary, still and all, in
view of recent global trends toward unbridled materialist scientism, and given the way priorities
in the education system have been planned and operationalized, across the decades, in our
country.
For instance, it would be nice if arts high schools could be set up as a complement to
the science high schools. And then, within the different campuses of the University of the

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Philippines—our country’s one and only national university—efforts might be undertaken to

renovate and build physical infrastructure that would function as creativity hubs, with the
requisite studios, workshops, ateliers, “thinking spaces,” and performance venues, in which
resident and visiting creatives might get to work, in a variety of solitary and collaborative
arrangements.
In accounting for the University’s “suprastructure” of intellectual workers, the input of
cultural practitioners and creatives might likewise be included, their productions catalogued and
celebrated alongside the scholarly articles and books that have thus far enjoyed the exclusive
attention of the various survey-takers, with their cumbersome diagrams and number-laden
charts. The much-repeated lament over the University’s dismal research profile can perhaps be
palliated when the many excellent theatrical productions, concerts, recitals, films, books of
short stories, literary journals, novels, poems, memoirs, biographies, essays, plays, painting and
sculpture exhibits, design projects, videos, installations, “happenings” and performances,
curatorial practices, and countless other instances of creative productivity are incorporated into
a more holistic picture of our University’s overall literacy agenda. There may be no local or
global precedents for this kind of metric, but seeing as how ranking systems are pretty much a
matter of product branding, it’s about time we consider originating our own brand of academic
analytics—one that takes cognizance of the specificities of our situation as a residually oral (and
unevenly literate) nation, whose painful transitions it is its artists’ ardent duty to document,
direct, and inspire.
These same creativity hubs could be the site where Complexity Studies might finally
take root in our beloved University, bringing the various academic knowledges to converse with
one another. Here the University’s many researchers and creatives may get to envision—and
subsequently, fashion or construct—solutions to our country’s manifold problems, whose
difficult nature requires the ethical and inspiriting consolations (and pleasures) of the
imaginative disciplines, as well as the practicality, rigor, and ingenuity of the hard sciences.
ACTIVITY 1
1. What does it mean to be “critical” when writing a critical paper?

__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
2. In writing a critical essay on literary text, why is it important to also have other sources?

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__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
3. How can you make the conclusion of your essay stronger so that you leave a lasting mark
to your readers?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
ACTIVITY 2
Answer the questions briefly but substantially.
1. What is the main argument of the short critical paper written by J. Neil Garcia?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
2. What fields are under the hard sciences? What fields are under the humanities?
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
__________________________________________________________________________
FORMATIVE
ASSESSMENT

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3. Using the Venn diagram state the similarities and differences between humanities and hard
sciences?
Hard Science Humanitries
SYNTHESIS
One way to meaningfully discuss a literary selection in the classroom is through a short
paper that can be shared through paper or panel presentation. In this way, you may apply your
critical thinking skills on the texts of your locality or region and be able to discuss it with your
fellow classmates. Criticism is instrumental in fostering healthy academic discussion in any
setting. Thus, it is an indispensable part of Philippine literature that must be continually
practiced and discoursed about.
HOMEWORK

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There are a couple of reliable websites online that discuss the essence and history of
literary criticism. Here are some sites that may give you brief overview of criticism and how it
has affected global society:
 Literary Criticism – definition” (https://britannica.com/EBchecked/topic/343487/literary-

criticism)
 “We Speak Tech: Literary Criticism” (http://www.shmoop.com/literary-criticism/)
References:
edition.

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POST-ASSESSMENT
I. Matching Type: Match Column A with Column b. Write the letter of the correct answer on
the space provided before each number.
COLUMN A COLUMN B
_____1. Reasoned consideration or analysis of literary text and their a. Conclusion
themes or issues
_____2. Consist of one or two pages of written critique that will b. Outline
succinctly discuss your idea, realization, or concept
regarding a literary selection
_____3. Author of “THE REPUBLIC” that deals with the c. Romanticism
consequences of poetic inspiration in his writing
_____4. A poet and a literary and cultural critic who has written d. Literary criticism
numerous collection of poetry and essays.
_____5. Victorian Era e. Plato
_____6. It summarize the discussion in the body and conclude by f. Experimentation of
referencing in the introduction Arts
_____7. The main guide of the paper that needs to follow g. Humanist People
_____8. Renaissance h. Short Paper
_____9.Idea is to hook the readers so that they will be more willing i. Lawrence Marvin
to listen to the idea of the writer. Castillo
_____10. Postmodern Era j. Introduction
k. Dr. J. Neil Garcia
II. ENUMERATION
1-6. Give the steps you can follow in writing critical paper.
7.
8.
9.
10.
11.
12.
7-10. Functions of Literary Criticism

7.
8.
9.
10.

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ESSAY
Does literature shape society or does society shape literature? Defend your answer
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________________
_____________________________________________________________________.

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ANSWER KEY
Answer Key to the Assessment (But let us cultivate a culture of honesty and integrity)
PRE-ASSESSMENT
1. D
2. A
3. D
4. C
5. A
6. B
7. C
8. C
9. D
10.A
LESSON 1
Activity 1
1 Reasoned consideration or analysis of literary text and their themes or issues.
2. The new criticism approach is mostly used in poetry analysis and evaluates elements like
diction, imagery, stanza structure, verse form, meanings, particularly and complexities of
meaning. This form of critical analysis refrains from analyzing the biographical and historical
context of a poem
3. Researching, reading, and writing works of literary criticism will help you to
make better sense of the work, form judgments about literature, study ideas from different
points of view, and determine on an individual level whether a literary work is worth reading.
Activity 2
Answers Vary
WRITER CRITIC
The truest sense of the word and owners Persuade the public to place their own
of their own work judgements on the work, according how
they see fit
Formative Assessment
1. B
2. C
3. A

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Page 45
4. A
5. B
LESSON 2
Activity 1
1. In a critical essay, an author makes a claim about how particular ideas or
themes are conveyed in a text, then supports that claim with evidence from primary
and/or secondary sources. In casual conversation, we often associate the word "critical"
with a negative perspective. Answers vary
2. It is presented to persuade readers, and used with powerful arguments in the texts
or essays. It is factual information that helps the reader reach a conclusion and form an
opinion about something. Evidence is given in research work, or is quoted in essays and
thesis statements, but is paraphrased by the writer. Answers vary
3. Restate the thesis by making the same point with other words (paraphrase); Review
your supporting ideas; For that, summarize all arguments by paraphrasing how you
proved the thesis; Connect back to the essay hook and relate your closing statement to
the opening one; and Combine all the above to improved and expanded conclusion.
Activity 2
Answers vary
POST-ASSESSMENT (given if formative, if summative no it will be submitted and

checked by the teacher or real-time on online)
I.
1. d
2. h
3. e
4. k
5. c
6. a
7. b
8. g
9. j
10 f
II.
1. Literary selection you want to analyze

2. Find sources
3. Begin with an outline
4. Start with a joke, anecdote or quotation
5. Write the body
6. Conclusion

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Page 46
7-10. Functions of Literary Criticism
7. Reevaluate any given text

8. Invoke discussion, reassess society, and redefine culture based on a literary text
9. Dip toes into social and political arguments
10. lawgivers when it comes to books, stories, poems and the like

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Page 47

FIDEM

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St. Augustine Academy of Pampanga, Inc.

21st Century Literature,

The lessons for this module are as follows:

At the end of this module, you will be able to:

ability to identify the representative texts and authors from each

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

Discuss how different contexts enhance the text’s meaning and

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

2. A person who writes plays

3. To make up or perform without preparation

a. Improvisation b. Cut c. Act d. Script

4. Painted curtain without fullness

5. Printed copy of a play

6. The major sections of a play

7. Clothing worn by an actor on stage to help represent characters

8. Small section or portion of a play

10. Female performer

11. All performers selected to portray characters

13. The Spanish influence on Philippine theatre is evident in this play.

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

a. Sarswela b. Moro-moro c. Vaudeville d. Senaku

14. The first zarzuela in the Philippines is written by..

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

MATERIALS NEEDED: Textbook: Applied Research: An Introduction to Quantitative Research Methods

1. PRECOLONIAL INDIGENOUS DRAMA

2. PLAYS WITH SPANISH INFLUENCE

 Comedy or komedya drama as tool for Christianization

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

CREATIVE PRESENTATION OF A PLAY

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

Types of Theater Description Notable Sample Image or Links to

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

MATERIALS NEEDED: Textbook: Applied Research: An Introduction to Quantitative Research Methods

 MOST POPULAR COLUMNIST WHO ARE KNOWN TO WRITE IN ESSAY FORM

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

And the Water Flows in Tiniwisan

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

Answer the Following briefly but substantially.

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

2. What is the central message of the piece?

3. What can you say about the author’s childhood?

4. What is the central subject of the essay? Defend your answer.

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

People Who Need People

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

Time after Time

"I'm so tired," Sabrina said.

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

Jake smiled, "We'll see, Miss Put-it-off-till-tomorrow! We'll see!"

______ 9. What is the author's purpose for writing the selection?

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

FAITH | SERVICE | EXCELLENCE AD ASTRA PER

_________________2. Conrado de Quiros is the popular essayist of Philippine Star.