INTRODUCTION TO LITERATURE

Literature
o Literature is derived from the Latin “littera” which means “letter”, which refers primarily to written texts.
Therefore, literature is simply anything that is written.
o Literature consists writings which recognize the meanings of nature and life, in words of charm and power,
touched with the character of the author, in artistic forms of permanent interest
o Literature is the written, printed or oral productions of the human mind collectively, which deals with
themes of permanent and universal interest, characterized by creativeness and grace of expression, as
poetry, fictions, essays, etc., distinguished from works of scientific, technical or journalistic nature
(Webster Comprehensive Dictionary, International Edition).
Types of Literature
A. Oral literature is the literature of the ancient periods when they did not yet have much concern about an
enduring preservation of the expressions of their wits and emotions or their experiences because what seemed
to matter then to them was merely the pleasure of being able to tell stories or being able to express themselves
either in the simplest way they can or in their kind of aesthetic sense. Itis preserved and handed down from
one generation to another by word of mouth. Oral literature started unwritten, but eventually captured for
writing.
B. Written literature is one that produced from the use of the pen by literary writer. Written Literature is more
permanent than oral literature because it remains as is.
Reasons Why People Write:
 For self-expression. It goes by the saying, “The mouth speaks what the heart is full
of.” Literature can be a great avenue for a person to express what they feel or think.
 To spread knowledge and information. Writing is a great way for us not only to
share information, but to learn from the information shared by other people.
 To pass on ideas and values. Preserving ideas and values can be difficult and
writing can mend to that problem. Passing on principles can be made easy by writings.
 To convey truth, accuracy, and evaluation. This allows others to analyze, evaluate,
form valid judgments, and make wise decisions.

The Qualities of Great Literature:

 Permanence - Great literature has a lasting influence and can stand though ages and may still open a new
world of meaning and experiences through different generations
 Universality - Great literature appeals to anyone, wherever, whenever and may be constantly relevant. It
deals with elemental feelings, fundamental truths, and universal conditions.
 Artistry – Great literature draws to our aesthetic sense or sense of beauty.
 Intellectual Value – Great literature stimulates the way we think. It makes us realize fundamental truths
about life and human nature; thus, enriching our mental ability.
 Spiritual Value – Great literature motivates, inspires, and brings out moral values which can make us better
persons. It also relates to God’s plan and purpose for humanity.
 Style – Great literature is evident with the distinctive way in which the writer sees life, forms his/her ideas,
and expresses them distinctly. The uniqueness of the writer shows in his or her style.
 Suggestiveness – Great literature draws to our emotions, stirs our imagination, feeling, moves us deeply
and evokes visions over and beyond the level of ordinary life and experience.
Prose and Poetry
Prose is discourse that follows the continuous and usual flow of conversation which uses sentences forming
paragraphs to express ideas, feelings, and actions. It is divided into two major divisions, namely fiction and
non-fiction.
Divisions of Prose:
1. Fiction is a type of prose writing that is the product of the author’s imagination.
a. Short Story is a sequence of events including one or more characters, one narrative, and one single idea.
Examples: Dead Stars by Paz Marquez Benitez, Footnote to Youth by Jose Garcia Villa
b. Novel is a long work of fiction that has chapters where many characters
are involved and spans long period of time.
Examples: Noli Me Tangere by Dr. Jose P. Rizal
Things Fall Apart by Chinua Achebe
c. Play is a scripted story executed on stage
Examples: Call Me Flory by Wilfredo Ma. Guerrero
Dekada ’70 by Lualhati Bautista
d. Legend is a narrative about the origin of man, place, event, and
happenings.
Examples: Alamat ng Pinya, The Legend of Daragang Magayon
e. Fable is a narrative where the characters are animals and nonliving objects that speak and act like
people, and usually ends with values that can mold their attitudes.
Examples: The Monkey and the Turtle, The Ant and the Grasshopper
2. Non-fiction is a type of prose writing that is based on facts, real events, and real people.
a. Essay is an attempt to express the viewpoint and judgment of the writer on a dilemma or event.
Example: Essays of Francis Bacon
b. Oration is a formal treatment of the subject and intended to be spoken before a crowd.
c. Biography is a literary work that gives the life account of a person written by another person.
d. Autobiography is a literary work where the author writes his own life account.
e. News is a report of expected and unexpected events in society and government and incidents in the
field of science, business, etc.
f. Letters is a written message communicated from one person to another person via writing through a
medium. Letters can be formal and informal.
g. Diaries and journals serve as account of personal experiences. They are synonymous but there is an
important difference:
 A diary is precisely a record of personal or private and daily experiences.
 A journal, depending on the context, could mean a more universal record or logbook but more importantly a
technical journal, that is a scientific or industry-related publication/periodical.
Three Types of Poetry:
1. Narrative poetry tells stories and has two forms:
a. Epics are lengthy poems that embody the adventures of epic heroes and divine forces. They are the oldest
remaining form of poetry.
Examples: Biag ni Lam-ang, Epic of Gilgamesh, Beowulf
b. Ballads are narrative poems meant to be sung. They are briefer than the epics and they usually tell stories
about a person. Because ballads started from the common people, they use repetitive and simple language as
well as supernatural touches.
Poetry is a type of literature that combines the sound and meaning of language to create and express ideas
and feelings. The language of poetry which uses imagery and figurative language closely related terms is very
rich, suggestive, and powerful. It is expressed in regimented manner by the force of stanza, meter, rhyme, and
other regulating devices.
Example: Ballad to King Arthur
2. Dramatic poetry reveal stories, but one or more characters act out the poem. There
are plays that are written as dramatic poetry. This allows the writer to reveal
characters directly through dialogue/ monologue. William Shakespeare, an
English playwright, is the most famous dramatic poet. In the dramatic monologue,
the story is dramatically told by only one character.
Examples: The Raven by Edgar Allan Poe, Winter’s Tale by William Shakespeare
3. Lyric poetry, the most familiar of the three, is a brief poem that articulates the poet’s
thoughts and feeling. The word lyric comes from the Greek word “rhein” which
means lyre, a harp-like musical instrument used by poets in ancient Greece. Lyric
poetry comes in many forms:
a. Haiku, one of the shortest lyric poems, is a Japanese verse of 17 syllables
arranged in three lines, the first line has 5, the second 7, and the third 5.
Example: Haiku poems of Matsuo Basho
b. Ode is a serious elaborate lyric poem full of high praises and noble feelings usually about things.
Example: Ode to Evening by William Collins (1721-1759)
Ode to Tomatoes by Pablo Neruda
c. Elegy is a poem of meditation on life and death. Many elegies mourn the death of a famous person
or a close friend.
Examples: An Elegy Written on a Country Church Yard by Thomas Gray
In Memoriam A.H.H. by Alfred Lord Tennyson
d. Sonnet is a 14-line lyric poem with a certain pattern of rhyme and rhythm.
Examples: How Do I Love Thee by Elizabeth Barrett Browning (1806-1986) an English Poet
Sonnet 18 by William Shakespeare
e. Song is a lyric poem intended to be sung.
Example: Sound of Silence by Bob Dylan and Paul Simon
Pre-Spanish and Spanish Period
(… - 1564)
Background
• our ancestors already had their own literature stamped in the history of our race
• the literature of ancient Filipinos was handed from one generation to another by word of mouth
• pre-Spanish poets and storytellers had gifts of good memory
• first alphabet (alibata) Malayo-Polynesian like
• records were burned by the Spanish friars (works of the devil)
• many of these literatures we have were by passed by the word of mouth
LITERATURES
Legend - A form of prose that has a theme: origin of a thing, location or name
• The Legend of Mount Makiling
• Ang Alamat ng Pinya
• Why Women Wash the Dishes
• The Legend of Olongapo
Folk tale – characteristically anonymous, timeless, and placeless tale circulated orally among the people
• - stories about life, love, adventure, horror and humor
Epic – long narrative poems in elevated style recounting the deeds of a legendary or historical hero
• Biag ni Lam-ang (Life of Lam-ang) of the Ilocanos is the adventures of the prodigious epic hero, Lam-
ang who exhibits extraordinary powers at an early age.
Other epics:
• Agyu or Olahing of the Manobos
• Sandayo of the Subanon
• Aliguyon or the Hudhud of Ifugaos
• Labaw Donggon
Myth – legendary story usually concerning some being or hero or event, deities or demigods and explains
some practice, rite or phenomenon of nature
• Malakas and Maganda
Folk Songs – a traditional composed song; mirror of the culture of the early Filipinos
• Kundiman
• Ang Oyayi o Hele
• Kumintang
• Soliranin
• Ang Dalit o Imno
• Talindaw
OTHER FORMS OF
PRE-SPANISH POETRY
Epigrams - a short and clever poem or saying
 Riddles (Bugtong o Palaisipan)- a mystifying, misleading or puzzling question posed as a problem to be
solved or guessed
Chant - a word or phrase that is repeated in a rhythmic way usually loudly and by a group of people
Maxims - a well-known phrase that expresses a general truth about life or rule about behavior
Sayings - An old and well-known phrase that expresses an idea that most people believe is true

Spanish Period (1565-1898)

Spanish Influences on Philippine Literature

 Alibata was the earliest Filipino writing system which was replaced by the Roman alphabet,
 The basis for religious practices was the Christian Doctrine
 The Spanish language, which lent many of its words to our language, served as the medium of
instruction and language of literature.
 Our songs, corridos, and moro-moros were mostly about the legends and traditions from Europe.
Spanish Influences on Philippine Literature

 Ancient literature was translated and became available in Tagalog and other dialects.
 Grammar books were published in different Filipino languages such as Tagalog, Ilocano, and
Visayan.
 Several magazines and periodicals were written in religious light and tone.

THE FIRST BOOKS

The Christian Doctrine (Doctrina Cristiana) This was the first Tagalog and Spanish book published in the
Philippines in 1593 in Xylography.
Libro de los Cuatro Post Primeras de Hombre This was the first book published in typography.
Nuestra Senora del Rosario This was the second book printed in the Philippines authored by Fr. Blancas de
San Jose in 1602
Ang Barlaan at Josephat This book was the first Biblical story published in the Philippines.
The Passion This book narrates the life and sufferings of Jesus Christ, and it is normally recited during the
lent season.
Urbana at Felisa The father of Tagalog classic prose, Modesto de Castro authored this book.
Ang Mga Dalit Kay Maria (Psalms for Mary) This is a collection of songs praising Virgin Mary.
FOLK SONGS
• Leron-Leron Sinta
• Dandansoy
• Pamulinawen
• Sarong Banggi
• Atin Cu Pung Singsing
RECREATIONAL PLAYS
Tibag This is a ritual to remind the people about the search of Saint Helena for the Holy Cross where Jesus
Christ was nailed and died.
Lagaylay is a special occasion to get together during the month of May for the Pilarenos of Sorsogon
Cenaculo is a dramatic performance to re-enact the passion and death of Jesus Christ. There are two kinds of
cenaculo:
a.Cantada which is chanted like the Passion, and the
b.Hablada which has a more dignified theme where the lines are spoken in a more deliberate manner showing
the rhythmic measure of each verse and stanza.
Panunuluyan is a play where the search of Virgin Mary and Saint Joseph for an inn to deliver the baby Jesus
is reenacted.
Salubong is an Easter Sunday play, usually held before sunrise, stages the meeting of the Risen Jesus Christ
and His Mother.
Carillo (also known as shadow play) is a dramatic entertainment performed
during dark nights.
Zarzuela (also known as the Father of Drama) is a musical comedy or melodrama.
Sainete is a brief yet exaggerated musical comedy wherein the characters depicted came from the lower
class.
Moro-Moro is a play held in every city fiesta for the individuals to enjoy and commemorate their Christianity.
Karagatan is a poetic competition where a tradition is performed based on a legend about a princess who
dropped her ring into the middle of the ocean and who offered her hand in marriage to anyone who can find it.
Balagtasan is a poetic debate about a socially relevant topic or issue. This is held in honor of Francisco
“Balagtas” Baltazar.
Dung-aw is a chant in free verse by a grieving person beside the corpse of the dead.

AMERICAN PERIOD (1898-1941)

During the American Period in the Philippines, the literary creation was motivated by two
advancements in education and culture:

o the introduction of free instruction for all children of school age

o the use of English as medium of instruction in all levels of education in public schools
Free public education made knowledge and information accessible to all Filipinos. Those who
availed this education through college were able to improve their social status and joined a good
number of educated masses who became part of the country’s middle class.

Founded Schools/ Universities in the Philippines During American Colonial Period:

➢ 1901 – Philippine Normal College (now PNU) ➢ 1905 – Central Philippine University
– National University ➢ 1908 – University of the Philippines
– Silliman University ➢ 1914 – University of Manila
– El Colegio de San Beda (now SBU) ➢ 1915 – Cebu Normal School
➢ 1902 – Negros Oriental High school ➢ 1919 – Philippine Women’s University
– Ilo-ilo Normal School – Jose Rizal University
➢ 1904 – St. Paul University ➢ 1925 – Mapua Institute of Technology
– Filamer Christian University ➢ 1933 – Far Eastern University
– Zamboanga Normal School ➢ 1938 – Arellano University
– Escuela de Farmacia del Liceo de Manila ➢ 1941 – San Sebastian College -
(now MCU) Recoletos

During the Period of Apprenticeship (1910-1930), the Filipino writers imitated English and
American models. They were 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.
Short Stories o Dead Stars was the first short story written in English by Paz Marquez
Benitez.
o The Small Key was written by Paz Latorena.
o Footnote to Youth was written by Jose Garcia Villa.

Newspapers o El Nuevo Dia (The New Day) -Established by Sergio Osmena in 1900.The Americans
censored, twice banned and threatened Osmena with banishment because of his nationalistic
writings.
o El Grito Del Pueblo (The Call of the Nation) - Established by Pascual Poblete in 1900.
o El Renacimiento (The Rebirth) - Founded by Rafael Palma in 1901.
Plays o Kahapon, Ngayon, at Bukas (Yesterday, Today and Tomorrow) written by Aurelio
Tolentino.
It depicts the suppression done by the Americans and their plan to colonize the Philippines.
o Tanikalang Ginto of Juan Abad o Malaya by Tomas Remigio
o Walang Sugat by Severino Reyes

The Characteristics and Features of the American Period:

1. Zarsuelas – It started during 1893; however, Severino Reyes popularized new dramatic form and
soon old forms slowly disappeared. In the first period of the American regime, theme was no longer
more about Christians and Muslims but between Filipinos and Spaniards.

2. Tagalog Prose Fiction – Lope K. Santos’ Salawahang Pag-ibig, Modesto Santiago’s Pagsintang
Naluoy, and Valeriano Hernandez Pena’s Unang Bulaklak. Authors of these prose were sentimental
and opted more for romantic escapades than for burning issues of the day.

3. Novel – Lope K. Santos’ Banaag at Sikat. This novel showed the sentimental character of each
Filipino using the tents of provinces.

4. 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.

5. Short Story (1925-1941) – 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.

The Three Periods That Emerged During American Period:

1. The Period of Re-orientation (1898-1910) The word of reorientation came into existence during this
period. English as a literary vehicle came with the American occupation in August 13, 1898 and as
they say, a choice presents on us by history. By 1900, English came to be used as a medium of
instruction in the public schools.

2. The Period of Imitation (1910-1924) by 1919, schools particularly 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 examining their way into imitating American and British models which
resulted in a mannered, artificial, and unnatural style, lacking vigor, 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.

3. 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.

Do you know that during this period, the Americans used education as a
vehicle of the program “benevolent assimilation?” Moreover, do you know that American soldiers served as
the first teachers of Filipinos then they
were later replaced by trained teachers, who were known as
“Thomasites?” What can you say about the contributions of American
period in the history of the development of Philippine literature?
Now, let’s see how the next period affects our freedom of speech.

JAPANESE PERIOD (1941-1945)

• Philippine literature was interrupted in its development when Japan conquered the Philippines
between 1941-1945. During this period, the Japanese stopped the use of the English Language in
almost all newspapers except for the Tribune and the Philippine Review, Pillars, Free Philippines,
and Filipina.
The Rebirth of Freedom (1946-1970)

Historical Background in the Post War-Contemporary Period

• The Americans returned to the Philippines in 1945 to end the Japanese rule.
• The Filipinos were jubilant and the Guerillas who fled in the mountains joined the liberating American
Army.
• It is also known as the “Recovering Era.”
• It is a period when Philippines gained independence from both America and Japan.

The Philippine Literature during the Post War-Contemporary Period:

• It is the transitional period in Philippine literature from the American style to the modern style of writing
• The post liberation period was marked by a “struggle of mind and spirit” posed by the sudden
emancipation from the Japanese rule and the strong desire to experience the freedom of writing.
• The Filipinos learned to express themselves more confidently but post war problems in connection to
language and print – like economic stability, the threat of new ideas and
morality-had to be dealt with side by side.
• The newspapers like the Free Press, Morning Sun of Sergio Osmena Sr., Daily
Mirror of Joaquin Roces, Evening News of Ramon Lopez and the Bulletin of
Menzi, proved that there were more readers in English than in any other
vernaculars like Tagalog, Ilocano or Hiligaynon during this period.
• Published in 1946, Ginto Sa Makiling – a novel by Macario Pineda, is the first work of note that appeared
after the second world war.
• A famous Tagalog novelist named Lazaro Francisco produced three more novels, Sugat Sa Alaala (1950)
reflects the horrors of the war experience as well as the human capacity for nobility, endurance, and love
under the most extreme circumstances. Maganda Pa Ang Daigdig (1956) deals with the agrarian issue,
and Daluyong (1962) deals with the corruption bred by the American-style and American-educated
pseudo-reformers. Lazaro Francisco is a realist with social and moral ideals. The Rizal influence on his
work is profound.
• The poet Amado Hernandez, who was also union leader and social activist, also wrote novels advocating
social change. Luha ng Buwaya (1963) (Lumbera) deals with the struggle between the oppressed
peasantry and the class of politically powerful landlords. Mga Ibong Mandaragit
(1969) deals with the domination of Filipinos by American industry
• Post-war poetry and fiction were dominated by the writers in English educated and trained in writers’
workshops in the United States or England.
• Most of these writers returned to the Philippines to teach. With their credentials and solid reputations, they
influenced the form and direction of the next generation mainly in accordance with the dominant tenets of
the formalist New Critics of America and England.
• The Philippine novel, whether written in English or any of the native languages, has remained social-
realist.
• Sa Ngalan Ng Ina (1997) was written during this period by prize-winning poet-critic Lilia Quindoza
Santiago, is, to date, the most comprehensive compilation of feminist writing in the Philippines.

The Challenges Faced by the Government:

• In the 1950s, the Guerilla warfare, also known as the HUKBALAHAP, (Hukbong Bayan Laban sa Hapon)
was causing problems in the government, but in the Magsaysay administration, they vanished,
neutralized, or were gone.

• During this period, journalists indulged in more militant attitude in their reporting. Gradually, as peace and
order were restored, the tones and themes of their writings turned to the less pressing problems of
economic survival.

The Characteristics of Philippine Literature during the Post War-Contemporary Period:

1. Romanticism
2. Nationalism
3. Independence
4. Nature
5. Expression of Feelings

Filipino Writers During the Post-War Period 1. N.V.M.

Gonzales (1915-1999)
• Nestor Vicente Madali Gonzalez, better known as N.V.M.
Gonzalez, fictionist, essayist, poet, and teacher, articulated the
Filipino spirit in rural, urban landscapes.

• Born in the Philippines in 1915 in the province of Oriental

Mindoro, Gonzalez conveyed enthusiasm for music at a very early
 age. He discovered to perform the violin and made his own guitars by hand. For college, he studied at
National University at Manila, Philippines, but did not finish his degree.

• Gonzalez published his initial essay in the Philippine Graphic and his first poem was printed in 1934.
These early publications began Gonzalez’s literary career. He went to The Diliman Review and worked
as a member on the Board of Advisers of Likhaan: The University of the Philippines Creative Writing
Center and president of the Philippine
Writers’ Association.

• Gonzalez’ absence of college degree did not stop him from pursuing teaching, and he received
teaching positions at numerous universities in the Philippines, including the University of the
Philippines (U.P) and the Philippine Women’s University. In fact, Gonzalez was one of only two faculty
members at U.P. to teach without holding a college degree. Since then, he has taught at several
universities in California.

• During his writing career, Gonzalez wrote five novels, eight short fictions and multiple essays, with his
work translated into languages like English, Chinese, German, Russian, and Indonesian.

• Gonzalez has received numerous awards including the City of Manila Medal of Honor in 1971, the
Cultural Center of the Philippines award in 1990, and the role of Regents professor at the University of
California at Los Angeles in 1988-9.

• Gonzalez passed away in 1999 at the age of 84, leaving behind his wife, four children, and five
grandchildren. In 2016, Gonzalez’s son, Dr. Michael Gonzalez, led an N.V.M. Gonzalez Workshop in
Oriental Mindoro. This workshop was in honor of the 2015 centenary of Gonzalez’s birth and was held
in the province of Gonzalez’s childhood.

Source: https://english.colostate.edu/news/filipino-american-history-month-n-v-m-gonzalez/ Retrieved July 10,

2020

The Bamboo Dancers

N.V.M. Gonzalez Summary

The Bamboo Dancers is a historical novel by Filipino novelist NVM Gonzalez.

Published in 1959 by Bookmark, this novel follows the travels of an Americanized Filipino
man and his struggles to embrace his own roots in rural culture. Praised for its subtlety and
careful handling of culture clashes, The Bamboo Dancers is one of a series titled Filipino
Literary Classics. Prior to his death in 1999, Gonzalez received both the 1960 Philippine
Cultural Heritage Award for Literature, and the 1961 Rizal Pro-Patria Award. He received
National Artist status in 1997.
 The narrative follows the journey of protagonist Ernie Rama.
Ernie is a sculptor with a study grant in the United States. He is
aloof and avoids becoming involved with anyone. He has only a
passing understanding of his Filipino roots and does not have any
clear identity. As part of his journey, Ernie receives the opportunity
to travel. His travels and his work bring him into contact with other
Filipinos who, like him, have left the rural culture behind and are
fulfilling their ambitions in the West. Firstly, while still in the US,
Ernie meets an old acquaintance – a girl working in the US on a
writers’ fellowship.

Ernie and this young girl begin an affair. They spend a week living together in a
borrowed New York apartment. Because of their sexual relationship, the young girl questions
her morality, and the pair decide to marry. However, it is not long before she changes her
mind. She instead becomes engaged to a young and emerging American writer, Herb Lane,
who joins the USIS and has an interest in the Far East. They begin their travels to the
Philippines, so they can be married. However, Herb dies on the way and the girl is referred to
a hospital on obstetric grounds.

Meanwhile, Ernie learns his brother is in California. He works as a resident physician in

a local hospital. After leaving his wife and child in Manila, he pursued a sexual relationship
with a young nurse. The relationship, however, does not last long, and he sets off home to
reunite with his family. When he goes home to Manila, he returns with many luxury goods,
including a car and a television. After being apart for so long, he finds he no longer has a
functional relationship with his wife, and he does not feel any real affection towards her. He is
also not on good terms with a housemaid, who feels threatened by him sexually and goes out
of her way to avoid him. Again, the reader observes all of this through Ernie’s perspective, but
is left with the sense none of it affects him as it perhaps should.

While in New York, Ernie meets three other Filipinos – a young man and his two
girlfriends with which he shows restrained public affection. There is a sense that all these
characters are inherently disconnected and floating through life on the surface. Ernie travels to
Japan where he learns of the tragedies around Hiroshima. Again, he seems unmoved by the
bomb casualties and does not let anything affect him. Furthermore, Ernie learns Herb is not
the gentleman he believes him to be. Herb, who dies in Taipeh, attacks his fiancé in a drunken
brawl and subsequently runs over a Chinese girl. His actions, combined, cause an
antiAmerican demonstration.

Ernie continues to show no genuine interest in his brother’s problems or his old fiancé’s
plight. He shows no remorse and is seemingly unaffected by the breakdown of their own
relationship. To make matters worse, at the end of the novel, Ernie suffers a near-death
experience. He almost drowns. Surprisingly, no one seems to notice or be affected by it, and

Ernie does not tell anyone. There is a sense that Ernie questions his identity, but this is a
question left unresolved by the end of the story. Death in this
context may be a metaphor for the death of one cultural identity
and the embracing of another, with no real harmony between the
two.

Throughout, Gonzalez uses bamboo dancing as a symbol.

Bamboo dancing, or tinikling, is a traditional Filipino dance which
involves the beating of bamboo sticks together. This symbolizes
the clashing of two ideologies – local Filipino culture and
 imported Western elements. It may also serve as a reminder of
the dangers inherent in traveling and losing a sense of identity.
In the Bamboo Dancers, Gonzalez deliberately uses a detached
narrative perspective to reinforce Ernie’s personality problems
and the overall apathy experienced by the characters in the
book.
Readers are left with the feeling that these characters could be anyone suffering a similar
cultural disenchantment.

Source: https://www.supersummary.com/the-bamboo-dancers/summary/
Retrieved July 11, 2020

1. Macario Pineda (1912-1950)

• Macario Pineda was born on April 10, 1912 in Malolos,
Bulacan. His parents, Felisa de Guzman and Nicanor Pineda are
established poetical debater. Macario Pineda married Avelina Reyes
and they had seven children. He finished his high school studies
at Bulacan High School and worked afterwards in the
municipality office.

• Macario Pineda is a well-known Filipino writer. He is a

renowned author because of his Tagalog works. Even though he
wrote some stories in English, all his writings in Filipino were much
appreciated by the readers. He also authored works in
Liwayway, Malaya, Bulaklak, Ilang-ilang, Daigdig, at Sinag-tala.

• His works shows distinctive characterization and remarkable

narration. Readers are astounded with his works because he uses native contexts, excellent use of the
Filipino language which reflects traditional Filipino customs. His works were always included in the list
of the anthology of the great writers, Ang 25 Pinakamabuting Maikling Kathang Pilipino ng 1943 and
Maikling Kuwentong Tagalog, 1886-1948.
 Ginto sa Makiling
Macario Pineda
Summary
Nagsimula ang kwento sa pagtatakda sa isang mamahayag na alamin ang pagkawala
ng isang matandang dalaga sa paraang di maipaliwanag. Ang naatasan ay matagal nang
nadinig ang kwento na itinuturing palang isang kwento ng pag-ibig sa lugar. Agad nitong
pinuntahan ang tiyuhin na si Doro na nakasaksi sa kaganapan na ito mula pa nang
pagkabata.
Si Edong ay isang binatang umiibig sa dalagang si Sanang nang habang nangunguha
ng bulaklak na Dapong sa isang napakarikit na hampas ay nakapinsala sa pugad ng ibon. Sa
kagandahang loob ni Edong at pagnanais sagipin ang inakay na nawalay, ay nahulog ito sa
mataas na bangin. Hinanap ng mga kasamahan nito si Edong o ang bangkay nito, ngunit
wala silang nakuha at pinagpalagay nang patay ito. Nagdulot ito ng labis na kalungkutan kay
Sanang. Sa ikalawang linggo ng pagluluksa ni Sanang na kinasaksihan ng buong baryo, sa
unang pagkakataon ay nagpasya siya muling lumabas ng tahanan. Bigla sa araw ding iyon
lumitaw si Edong, maayos ang kalagayan liban sa kaunting pag ika- ika ng paglakad. Ito ay
ikinagulat ng lahat maging ni Sanang.
Dito pinagtapat ni Edong kay Sanang ang pangyayaring sumagip sa buhay nito at
babago sa kanilang buhay. Kinailangang bumalik ni Edong sa Makiling at sa pagkakataong
ito ay isinama nya ang musmos na si Doro sa mahiwagang bayan na tanging musmos lang at
mga karapat dapat ang makatutuntong. Dito nananahan si Maria Makiling kasama ang iba
pang kinapal na nakaambag sa kabutihan
ng lahi.
Ito’y mundong di nalalayo sa panahong iyon
liban sa ang mga suliraning binubunga ng
kasakiman ng tao ay di umiiral. Dito na
mananahan si Edong na kung tutuusin ay
kinuha na ng kamatayan ngunit dahil sa
kagandahang loob ay nabigyan ng
pagkakataong mabuhay muli sa mahiwagang bayang ito. Dito pumapasok ang suliranin ng
kwento pagkat ang hinahayaan lang mamuhay dito ay ang piniling ilan at natapos na ang
buhay sa natural na mundo. Gaano man kamahal ni Edong si Sanang at gaano man ang
kabutihan nito ay di maaaring manahan sa bayan ng Makiling, liban sa kung malalampasam
nito ang pagsubok na itinakda ni Maria Makiling.Bumalik si Edong at Doro dala ang regalo
nila Maria Makiling at ng isa pang mahiwagang babae na si Urduha para

kay Sanang, regalong babago sa buhay di lamang ng buhay ni Sanang kundi kasabay ng pamilya nito(isang
bayong ng ginto). Dito nasubok ang katatagan at karupukan ng mga tauhan sa kwento, naglitawan ang mga
suliraning hindi gumambala noong payak pa ang pamumuhay ng pamilya. Mula rin nito ay di na makikita ni
Sanang ang kasintahan hanggang malampasan ang pagsubok na itinakda.
Source: https://brainly.ph/question/1003058
Retrieved July 12, 2020

3. Stevan Javellana (1918–1977)

 Stevan Javellana was a Filipino novelist and short story writer in the English
language. He is also known as Esteban Javellana.

Javellana was born in 1918 in Iloilo. He fought as a guerrilla during the Japanese
invasion of the Philippines. After World War II, he graduated from the University of
the Philippines College of Law in 1948. He stayed in the United States afterwards
but he died in the Visayas in 1977 at the age of 59.

Javellana was the author of a best-selling war novel in the United States
and Manila, Without Seeing the Dawn, published by Little, Brown and Company in
Boston in 1947. His short stories were published in the Manila Times Magazine in the
1950s, among which are Two Tickets to Manila, The Sin of Father Anselmo, Sleeping Tablets, The Fifth Man,
The Tree of Peace and Transition. Without Seeing the Dawn, also known as The Lost Ones, is his only novel.
The novel is also a requirement for the Grade 7 students of the University of the Philippines Rural High
School.
Source: https://www.goodreads.com/author/show/843434.Stevan_Javellana
Retrieved July 12, 2020

Without Seeing the Dawn

Stevan Javellana
Summary

Set in a small farming village called Manhayang, Sta. Barbara, somewhere in Negros. Like most rural
baranggays, the hardworking and closely-knit village folk there had simple needs, simple wants, and simple
dreams. They were living their own simple lives when the violence of war reached their place and brought
death to their village, their homes and their hearts.
 Here revolves the story of Ricardo "Carding" Suerte, son of Juan Suerte. An
industrious, strong and sometimes quick-tempered young man, he aspired to marry Lucia, the
daughter of the teniente del barrio. Though his father thought he was not yet prepared and had
wished to send him to school, he gave his blessing to the decision of his son. He consented to
asking Lucia’s hand from her parents in the traditional pamamanhikan, accompanied by the
village’s best orator and the godmother of the lass. After agreeing to the conditions of the
village chief, the marriage was set. Tatay Juan gathered up almost all of his hard-earned
savings for the dowry and expenses for the wedding feast. In the meantime, Carding excitedly
built their house despite the advice of the elderly- that building one’s house in May will bring
misfortune to its inhabitants.
And so it came to pass that after the grand wedding and the feast that followed- which
was even attended by their representate- the newlyweds lived happily on the land entrusted to
Tatay Juan by Don Diego, but not for long. Misfortune struck early when their first child was
stillborn. A more difficult trial came when Lucing disgraced herself, her family and her husband
by having an affair with Luis, the son of their landlord. Caught naked, he was beaten up by the
strong, angry husband whose honor and pride were hurt. The couple patched things up, but
the land that Carding and Juan Suerte had been tilling for a very long time was given to
another tenant. With no land to till, the pair tried their luck in the city. There, in Iloilo, Carding
met Rosing and Nestong. The latter was his fellow stevedore and union member, and the
former, a prostitute besotted with him, and also the reason why his wife left him and returned
to their barrio. Soon, Carding followed Lucing with news that the representante entrusted them
with land to till in Badlan. Lucing too, had news for her husband: she was again pregnant.
They moved to Badlan and worked harder than ever. They were blessed not only by a
promise of a bountiful harvest, but also with a healthy son they named Crisostomo. Sadly, their
landlord sold the land, and they were given time to harvest what they sowed. Misfortune was
like a shadow though. A great flood destroyed everything that they had- harvest and carabao
as well.

Wanting to own their own piece of land, they were convinced to move to Mindanao, but
Carding was drafted for military service. When he returned, he found his wife heavy with
another child. At first, the truth was kept from him. What he knew was
that his father and his son died of some
illness. But later it was revealed that the
Japanese soldiers who attacked their village
killed his father and son and raped his wife.
He was enraged when he learned the truth.
As his neighbors, relatives and friends in
barrio Manhayang were tortured, raped and
massacred by the Japanese soldiers, Carding too
became an executioner to his enemies, and not even his friend nor the brother of his
motherin-law were spared. He also almost killed the child that his wife had just delivered,
were it not born dead. For that, Lucing was so enraged that she sent him away.
The Japanese ordered everyone to enter a collective barrio or else be considered
guerrilla supporters and be shot. But the villagers of Manhayang also refused to be
considered enemies of their own sons, and so they decided to evacuate in barrios farther
away. However, Lucing was hesitant to go. She was waiting to see her husband despite
everything, knowing that he will be leading the suicide attack to the Japanese garrison. When
they did see each other, Carding asked for her forgiveness and left her what cash he had as
he bade her farewell. In the end, Lucing refused to flee for she knew that she was still his
wife, duty-bound to receive the corpse of her beloved husband.
Source:
http://ice-wherethegreengrassgrow.blogspot.com/2010/09/summary-of-stevan-
javellanaswithout.html?m=1
Retrieved July 12, 2020

• There was no freedom of speech and of the press. Victoria Abelardo described Filipino writings
during the Japanese occupation as pessimistic and bitter. Because of strict censorship, few literary
works were printed during this period.

• The weekly magazine Liwayway was placed under strict surveillance until it was managed by a
Japanese named Ishiwara.

• This period encouraged Tagalog writing. Many of the works focused on everyday life were seen
and untouched by war. This had an advantageous effect on Filipino Literature, which experienced
renewed attention because writers in English turned to writing in Filipino. Juan Laya, who use to
write in English turned to Filipino because of the strict prohibitions of the Japanese regarding any
writing in English.

• Literature was performed by the guerillas through satirical skills, and by the people who are fighting
against Japanese movement.

• The significance of cultural activities lies not in the quality of output but by the guidepost of the
Filipinos.

• The common theme of most poems during the Japanese occupation was nationalism, love and life
in the barrios, faith, religion, and the arts.
• The only contact with the outside world was done with utmost secrecy through the underground
radio program called “Voice of Freedom”.

• During this period, Tagalog was favored by the Japanese military authority, and eventually
influenced and encouraged the Filipinos to develop the vernacular literature.

• Filipino writers who were able to write freely were those residing in the United States. Most writers
and authors were forced to go underground or write in Tagalog. So Filipino literature experienced
renewed attention because writers in English turned to writing in Filipino.

• Movie houses showing American Films were closed. Stage plays translated from English to
Tagalog were shown in big movie houses. Translators were Francisco Soc Rodrigo, Alberto Concio
and Narciso Pimentel.

• Filipino literature was given a break during this period. Many wrote plays, poems, short stories etc.
topics and themes were often about life in the provinces.
The Filipino Poetry During the Japanese Period:

As said earlier, the common themes of most poems during the Japanese occupation were
nationalism, love and life in the barrios, faith, religion, and the arts. Three types of poems emerged
during this period. They were:

1. 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.

2. Tanaga – a poem consisted of 4 lines, each with 7 syllables and usually has AAAA rhyme scheme

3. Karaniwang anyo (usual form)

The Filipino Drama During the Japanese Period:

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
Dramatic Philippines.

A few playwrights and their well-known plays were:

1. Jose Ma. Hernandez – wrote “Panday Pira”
2. Francisco Soc Rodrigo – wrote “Sa pula, sa Puti”
3. Clodualdo del Mundo – wrote “Bulaga” (an expression in the game Hide and Seek).
4. Julian Cruz Balmaceda – wrote “Sino ba Kayo? Dahil sa Anak, and Higante ng Patay.”

ILOCANO LITERATURE

• Ilocano literature is one of the most vibrant Filipino literatures throughout the ages. Ilocano
regions are also one of the most active tributaries in the Philippine literature next to Cebuano,
Bikol, Hiligaynon, Pangasinense, and Tagalog.
• Prior to the Spanish colonial period, the Ilocano literature is purely alive in form of written and
oral literature. The ancient Ilocano poets expressed themselves in folk and war songs. Another
popular form of literature was the dallot, which is an improvised, versified and impromptu long
poem delivered in a sing-song manner.
• When the Spaniards arrived in Ilocos Norte in 1572, it took a toll on Ilocano literature. During the
Spanish era, Ilocano poetry was heavily influenced by Spanish poetry. The earliest known written
Ilocano poems were the romances translated from Spanish by Francisco Lopez. Lopez was an
Augustinian friar who published his Iloko translation of the Doctrina Cristiana (first book published
in the Philippines by Cardinal Bellarmine) in 1621.
Following are the most notable Ilocano authors and their selected literary works.

FRANCISCO SIONIL JOSÉ (already 93 years old) is one of the most

widely read Filipino writers in the English language. His novels and short
stories depict the social underpinnings of class struggle and colonialism in
Filipino society.
Birthdate: December 3, 1924
Hometown: Rosales, Pangasinan
Education al Attainment : Graduated at University of Santo Tomas
 Melvin Banggollay
Birthplace: Saliok, Natonin, Mountain Province
Hometown: Tabuk, Kalinga
Occupation: Senior specialist at Department of Trade and Industry DTI)
Educational Attainment: Graduated Bachelor of Science in Commerce, Major in
Accounting and management at St. Mary's University, Bayombong, Nueva
Vizcaya, as a scholar of the National integration Study Grant Program
(NISGP) sponsored by the Department of Education and National Student
Loan Center, Philippines

Here are some of the poems written by the Ilocano writer, Melvin Banggollay:

ONLY YOU IKAW LAMANG SIKSIKA LAENG

(English) (Tagalog) (Ilokano )
Ikaw lamang Siksila laeng
Only you My Aking mahal Ti ay-ayatek
love
Sa aking buhay Ti biak ko
in my life I’ll Aking
Ti pagrukbaban
adore until sasambahin
I’ll die only Hanggang Inga’t
you i’ll serve kamatayan Ikaw
lamang ang panungpalan
and love with Siksika laeng
paglingkuran at
a love so
mamahalin na Ti pagserbiyan
noble and
pag-ibig na
true Ti ayaten
dalisay at totoo
endlessly
ng walang
Iti ayat
katapusan
A nasudi Ken
agpayso nga
awan patinggana

A LOVE THAT ENDURES

A love that endures is

L-iving for someone dear
O-ffering unconditonal passion
V-alueing one's right so fair
E-nduring pains and
depressions.
T-eaching the heart to be fair
H-ealing with gentle
communication
A-cting what your heart declare
 T-ouching with prudent
conviction.
E-ntwined with forgiveness flare
N-urtured with tender passion
D-evelop with motives so clear
U-nderstanding amidst confusion
R-esolve to be always just and
fair
E-ndures to serve even at
oblivion S-acred vow to serve
without fear.

2. BICOLANO LITERATURE
Around 5 million people speak variations of Bikolano dialect in the Bicol region. From Camarines Sur to
Naga to Albay Sorsogon – and every locality in between – Bikolano literature has flourished, providing a lively
literary flavor unrivalled by any other literary tradition.
How the Diversity Unfolded:

• Just like other local traditions and cultures in the country, Bikolano literature has its roots in orally transmitted
poems and mythical narratives that reflect the history of the people. The transformation of the literature can
be traced by going through local and national history.
• Mariano Perfecto is the first Bikolano writer who published Bikola newspaper, he was also responsible for the
development of the first printing press named “Imprenta de Nuestra Senora de Penafrancia.”
• While the latter development implied that Bikolano literature was dominated by religious writing at that time.
• Protest drama became a form of expressing the people’s growing resentment of the Spanish rule.
• “Comedia” writers such as Sabas Armenta, Juan Alvarez Guerra and Juan Miraflor have protest plays
credited to their names.
• The dramatic genre of the “corridor,” which was popular among the Tagalog-speaking folk, was adapted into
the local ‘Bikolcorrido”, with “Magamang Pobre” being a popular example).

Bicolano Authors and their Literary Pieces:

Luis Guevarra Dato (4 July 1906 – 29 January 1985)

• He was a Filipino poet, writer, educator and politician from Baao, Camarines Sur.
 He was one of the first Filipinos to write and publish works in English.
• He was also considered as an “authority on the Bicol language and culture.”
• He also worked as a newspaperman for the Bicol Star, Naga times, and other
Newspapers.
Other Famous Works:

• Manila: A Collection of Verses (1926),

• My Book of Verses, I (1936), II undated
• The Land of Mai: A Philippine Epic, Volume I (1975).
 Day on the Farm
By Luis G. Dato

I’ve found you fruits of sweetest taste and found you

Bunches of Duhat growing by the hill,
I’ve bound your arms and hair with vine and bound you
With rare wildflowers but you are crying still.

I’ve brought you all the forest ferns and brought you Wrapped
in green leaves cicadas singing sweet,
I’ve caught you in my arms an hour and taught you
Love’s secret where the mountain spirits meet.

Your smiles have died and there is no replying

To all endearment and my gifts are vain;
Come with me, love, you are too old for crying,
The church bells ring and I hear drops of rain.

Marne L. Kilates has published three books of poetry, Children of the

Snarl (Aklat Peskador, 1987), Poems en Route (UST Publishing House,
1998), and Mostly in Monsoon Weather (UP Press, 2007), and nine books
of translation of Filipino poetry into English. His translations include works by
major Filipino poets, the latest of which are the
University of the Philippines Centennial Edition of Francisco Balagtas’
Florante at Laura , and National Artist Virgilio S. Almario’s (or Rio Alma’s) Mga
Biyahe, Mga Estasyon / Journeys, Junctions (Anvil, 2008).

Kilates is also an active user of the new medium of the Internet,

and publishes and edits the online poetry & art magazine called Poet’s
Picturebook, athttp://marnezine2.blogspot.com/ , and his own website, All
Our Nameable Days,at http://nameabledays.jimdo.com/ where his new

and past works, and his translations, may be sampled.

Source: http://panitikan.ph/2014/06/06/marne-l-kilates/
Retrieved July 13, 2020 Marne L. Kilates Born:
November 5, 1952 (age 64 years), Daraga,
Albay, Bicol
 A Cloud Named Looking-for-You Note:

by Marne L. Kilates

Poem This poem is

inspired by a Yunnan
legend in China.
My heart aches like the heaving sea;
My tears riddle the face of the water;
They say that it is the
My pain comes in guests, emptying me. Princess Nhanzao
forever drifting over
the Sea of Er,
Cursed with wandering, thin as air, looking for her love
who had been turned
How can I touch the bottom of this grief? How into stone and sunk
into the depths –
can I lift this shroud that covers
from the song by Shi
My love’s grave? Zhi–You about the
Yunnan legend.

My heart heaves like the aching sea;

My tears riddle the face of the water;
My pain comes in guest, emptying me.

The Mother of Philippine Folklore:

Damiana Ligon Eugenio
(September 27, 1921 – October 10, 2014)
Occupation: Was a Filipino female author and had several
publications in

the field of Philippine folklore and a professor at the UP Diliman at the

Department of English and Comparative Literature for the college of
Arts Educational Attainment:

Graduated BSE from the University of the Philippines as Cum Laude

Completed her M.A degree in English Literature and folklore
3. Ang Duwende
Damiana Ligon Eugenio
Bicolano Folklore

Malalim na ang gabi at abalang-abala pa sa pananahi ang dalawang

magkapatid na babae. Tinatahi nila ang mga kamisa at saya nila, na isusuot

nila para sa isang misa kinaumagahan. Ibinilin ng kanilang ina na siguruhing

nakasara ang pinto at mga bintana ng kanilang bahay, kundi ay papasok

ang duwende, na bumibisita sa kanila tuwing hatinggabi. Upang malaman

ng kaniyang mga anak kung ano ang duwende, ikinuwento niya ito:

“Katulad lang ng mga ordinaryong tao ang mga duwende. Tuso silang mga nilalang,

ngunit matulungin din. Ilan sa mga kapilyuhang ginagawa nila ay ang pagsira sa mga muwebles

at mga larawan, pagbasag sa mga salamin, baso, plato, at tasa. Kung hindi sila makahanap ng

mga bagay na sisirain o babasagin, kinukurot nila ang mga pisngi, braso, at katawan ng mga

tulog na babae, upang maging mabigat ang pakiramdam nila pagkagising. Kung hindi

kinaasaran ng mga duwende ang mga nakatira sa bahay na madalas nilang bisitahin,

nagpapakita sila ng kabaitan sa mga ito. Sinasabing dinadalhan nila ang mga kaibigan nila ng

mga masasarap na pagkain at ipinagtatanggol sila mula sa mga masasamang nilalang.

Maraming tao tuloy ang sabik ngunit balisang makakilala ng duwende. Itinuturing nila ang mga
nilalang

na nagtataglay ng kakaibang karunungan dahil sinasabing alam na alam nila ang mga lihim at

ikinikilos ng mga tao. Ngunit kung sakaling ang mga naging kaibigan ng duwende ay biglang

nagsabi ng anumang masama o nagbalak ng masama sa kanila, kahit pa hindi sila marinig ng

mga duwende, ay parurusahan sila at hindi na muling babalikan.

“Ang duwendeng binabanggit ko rito ay madalas sa bahay namin

habang ang
nanay ko, o ang lola ninyo, ay buhay pa. Parati niyang sinasabi sa aming isara ang pinto at mga

bintana bago kami matulog. Isang gabi, nang nagtatahi rin kami ng kapatid ko ng kamisa at

saya, nakalimutan naming isara ang mga bintana at pinto. Ilang segundo bago maghatinggabi,

naroon ang isang maliit na nilalang na nakatayo sa aming pinto. Maliit siya, kasinliit lamang ng

isang dalawang taong gulang na bata; pula ang kaniyang mukha; mayroon siyang mahabang

bigote at maputing kulot na buhok. Maigsi ang mga

braso niyang balingkinitan, ngunit malaki ang mga kamay niya– malaki para sa kaniyang

braso.” Nang marinig ng mga dalaga ang kuwento ng kanilang ina, natakot sila. Nang

maghatinggabi, narinig nila ang mga tunog: takla, takla, takla. Gawa ito ng duwende. Takot na

takot ang dalawa. Lumingon ang panganay, at nakita niya ang duwende na pumapasok sa

pinto.

At katulad ng inaasahan, tumakbo at tumalon siya papasok ng bahay, papunta sa mga

dalaga. Dahil doon, nasipa niya ang isang gasera, na nagpaliyab sa mga kamisa at saya. Mula

noon, naging maingat na ang magkapatid at ang buong bayan ng Legaspi sa duwende.

Isinasara na nila ang kanilang mga pinto at mga bintana bago sila matulog sa gabi.

CEBUANO LITERATURE

Cebu, dubbed as “The Queen of the

South,” distinguishes itself with its rich and vibrant literary tradition. With a quarter of the entire
country’s population speaking the Cebuano language, Cebuano literature has proliferated
across Cebu, Bohol, Siquijor, and Negros Oriental.

How the Diversity Unfolded:

• Cebuano literature refers to the literary works written in Cebuano, a language widely
spoken in the southern Philippines. The term is most often extended to cover the oral
literary forms in both indigenous and colonial Philippines.

• While the majority of Cebuano writers are from the Visayas and Mindanao region, the most
recognized Filipino literary outlet for them, including the Bisaya Magasin, is based in Makati
City in Metro Manila, while there is also a lively Cebuano community of writers in the
language, which is based outside the country.

• Cebuano literature, therefore, encompasses not only those Visayas and Mindanao-based
writers writing in Cebuano, but all written output in Cebuano, wherever its source is.

• Cebuano Literature may be traced back to several poetic forms. These included the
“balak” (which contains a “balaybay” or metaphor), the “tigmo” (riddles), “panultihon”
(proverbs), and “garay” verses.

• “Balitaw,” a poetic debate that required the participants (a man and a woman) to improvise
and even sing their lines, was also popular in the place. Improvised poetry was also present
in the dramatic genre of the “kulilising hari”. Cebuanos are known for having a rich oral
tradition, this is consist of legends associated with specific locales, like the “Maria Cacao”
legends of Southern Cebu and those of Lapu-Lapu and his father Datu Manggal of
Mactan; and folktales like the fable “Haring Gangis ug Haring Leon”, which gives caution on
the unmannerly behavior by the prevailing group. Many of the tales carry lessons, but just
as many suggest the value of humor, keeping of one’s wit and resourcefulness, as in the
“Juan Pusong trickster tales”.

• It was only in the late 19th century when written literature became noteworthy. Tomas de
San Geronimo’s “Soneto sa Pagdayeg can Santa Maria Gihapon Virgen” (1751) is the first
 of many religious compositions that show a loss of the mysterious symbol and metaphor of
pre-colonial verse.

• The pasyon is considered the longest poetic form. It is a verse interpreting the life and
suffering of Jesus Christ that is read during the Lent season.

• Among the publications before the war, only Bisaya has survived as literary outlet of
Cebuano, caused by the rise in stature of English and later Tagalog. Although Cebuano
was still the language of home and street, postwar Cebuano literature was downgraded to
third class.

• Cebuano literature is probably weakest when it comes to the Drama, even though there are
few writers like Claude Al Evangelio and Allan Jayme Rabaya whose writings were
continued. Cebuano playwrights have slowly turned to radio- and TV-scriptwriting triggered
by the worry they had regarding thoughts unusual to writing for theater, like curiosity in
publication and facing the standard of the theater arts.

• The annual “Cornelio Faigao Memorial Writers Workshop” conducted since 1984 by the
“Cebuano Studies Center of the University of San Carlos” were attended my many writers.
These workshops, which the Cebuano writers may attend as fellows and as observers,
provide a setting for people from different backgrounds and walks of life to share their crafts
and discuss problems.

The following literary selection is one of many literary gems that represent Cebuano literature.

4. The Santo Niño of Cebu

A Visayan Folktale

Usa ka adlaw, ang usa ka kabus nga mangingisda sayo nga nanagat sagad sa iyang buhat

matag adlaw. Apan niining adlawa hilabihan niya kadimalas kay matag buklad niya sa iyang
baling wala siya'y laing kuha kondili usa ka agipo. Tulo ka beses nga gilabay sa mangingisda
ang agipo balik ngadto sa dagat, apan matag bitad niya sa iyang baling ang maong agipo
gihapon ang iyang kuha.
Sa iyang kasibot, bisan pa man sa iyang kalagot, gidala sa mangingisda ang gapnod nga
kahoy sa iyang pagpauli. Pag-abut niya sa ila, iyang naabtan ang iyang asawa nga nagbulad sa
palay sa ilang laguwerta. Giitsa sa mangingisda ang agipo ngadto sa palay dason hunghong sa
kaugalingon, "Kon tinuod man nga ikaw usa ka anting-anting, abir kon imo bang mabugaw ang
mga langgam ug manok gikan sa gibulad nga palay." Dakong katingalahan nga wala tuod
langgam o manok nga miduol sa gibulad nga palay. Nianang pagkagabii, gidala sa mangingisda
ang agipo sa sulod sa ilang balay ug kini iya rang nabiyaan sa buot.
Unya, nianang gabhiona, nakadamgo ug usa ka damgong katingalahan ang mangigisda. Iyang
nadamgohan nga ang iyang "kuha" nga agipo niadtong adlawa nahimong estatuwa sa usa ka
matahum nga bata. Uho na man, pagmata niya anang pagkabuntag, iyang nasaksihan ang usa
ka katingalahan nga pagkabalhin. Ang agipo naporma ug ingon sa usa ka bata. Paglabay sa
mga adlaw, ang porma sa bata nagakatin-aw hangtud nga kini nahimong imahen sa Santo Niño
nga sama sa atong makita karong panahona.
English Translation:
One day a poor fisherman went out early to the sea as
usual. However, the day turned out to be a very unlucky
one for him because, every time he cast his net, all he
would catch was a piece of firewood. Thrice the fisherman
threw the firewood back to the sea; each time he pulled in
his net, the same piece of firewood would turn up.
Disgusted yet fascinated by what had happened, the
fisherman took the driftwood home with him.
When he got home, he saw his wife drying palay on a mat
out on their yard.
The fisherman threw the firewood
himself, "If you are
on top of the palay and muttered to
indeed a thing of magic, let's see you keep the birds
and the
chickens away from this drying palay." Astonishingly, no bird or fowl came near the drying palay.
When evening came, the fisherman brought the piece of
wood inside the house and forgot all about it.
However, that very night, the fisherman had a strange dream. He dreamed that the firewood,
which he “caught” that morning, had turned into a statue of a beautiful child. True enough, when
he awoke in the morning, he saw a strange transformation happening before his eyes. The
firewood had somehow taken on a form that looked like that of a little child. As the days went by,
the child's features became clearer and clearer until at last it became the image of the Santo
Niño as we would see it today.

5. WEEK 7 – WESTERN VISAYAS LITERATURE

Take a look at the geographic, linguistic, literary, and ethnic dimensions of the Western Visayas.
 • Western Visayas, also known as Region VI, is
composed of the provinces Aklan, Antique, Capiz,
Iloilo, Negros Occidental, and the new province of
Guimaras, which was formerly a sub-province of
Iloilo.
• Farming and fishing are the primary sources of
GEOGRAPHY:
income of the people of Region VI.
• Aside from rice, the region also produces sugar,
coconut, banana, fruits, root crops, and vegetables.

• Iloilo City and Bacolod City are highly urbanized cities while the rest are rural.
• • Hiligaynon – lingua franca of the Ilonggos in the Western Visayas
Kinaray-a or Hiraya– mother language of the Western Visayas and is spoken by the
Ilonggos in the central and southern towns of Iloilo, all provinces of Antique, most of
• Capiz, and even South Cotabato, where many Western Visayans have migrated
Cebuano or Sugbuanon – Though it is the lingua franca of Central Visayas, it is
LANGUAGE(S): spoken in the northern towns of Negros Occidental which face Tañon Strait towards
Cebu
• Aklanon – language spoken in Aklan, which was also derived from Kinaray-a just like
Hiligaynon
• • Aklananon – main inhabitants of Aklan • Capiznon
• Negrito – locally known as Ati • Hiligaynon
Sulod – tribal group that resides in the hinterlands of • Karay-a
ETHNIC Panay
GROUPS:

• During the pre-Spanish era, the Western Visayan literature was transmitted through
oral tradition and in Kinaray-a.
• Kinaray-a was said to have been the language in folklore of the ten Bornean datus.
According to the folk account of the Maragtas, these datus bought the island of
Panay with a headgear of gold and a necklace that touched the ground. Panay Island
was said to be originally a possession of the aboriginal Ati.
• The folk literature of Western Visayas consists of brief riddles, proverbs, ditties, ritual
chants, elaborate love songs, tales, and extensive epics. Binalaybay – a term that
WESTERN
refers to Western Visayan poem
VISAYAS
• •
LITERATURE
Asoy or Sugilanon – a term that refers to Western Visayan tales
FROM THE
• Region VI is known to be rich in folklore that truly mirrors the culture, tradition, and
PAST AND THE
dreams of its people. The researchers believe that these folklores deserve to be
PRESENT:
included in the canon of the Philippine Literature (Morga, 2019).
• In the present time, the Western Visayan literature is still known and orally passed by
old folks. These are categorized into the following categories:
 Bulong, hurubaton, huding, likayo, hakol, hangkat, and other old and shorter
 verses
 Ambahanon, Daigon, komposo (folk songs)
 Dayaw/ dalit, pasyon (verses/ songs of praise)
 Paktakon (riddles), lowa, folk tales
• Written forms also exist for most of these literatures were written, collected and
stored in the libraries of schools and universities in the region. Private individuals who
have passion in writing local literatures also collect and publish them.
• The themes of Western Visayan literature are mostly about success and failure in
love, expression of love, longing for maternal love, occupation and culture, behavior,
adventure, and courtship, challenges and hardships, calamities, care for nature,
heroism, crimes and criminality.
• Rich and varied Hiligaynon literatures manifested different beliefs, traditions,
customs, everyday life, human relationships and occupation of the Western Visayan
people.

As part of your literary journey, you will be reading selected litera ry

works from the Western Visayas literature from the earlier periods
and from the 21 st century .

We hope that you will enjoy your journey to Western Visayas!

THE WESTERN VISAYAS LITERATURE

In Unit 1, you have learned the different literary genres. In this lesson, you are about to read an
Ilonggo folktale. A folktale is an old form of literature which is usually a story originating in
popular culture and is typically passed across generations through oral tradition. Without the
oral tradition, the earliest forms of literature might not be known in the present generation.

Read the Ilonggo folktale and find out whether Barom-Mai wins the heart of his beloved or not.

6. The Story of the First Durian (The

Hermit’s Three Wishes)
Ilonggo Folktale

Barom-Mai was an old and ugly king who lived in a kingdom called Calinan in
the Visayas hundreds of years ago. Although he was powerful, he was helpless when
it came to winning the love of his young bride, Madayaw-Bayho (daughter of Tageb,
king of the pirates).
 Barom-Mai asked his advisers to help him win his bride’s love, and Matigam (the wisest of
advisers)
told him about Impit Purok, a hermit who lived in a cave in Mt. Apo.
They went to the hermit and he asked for three things: the egg of the black tabon
bird, twelve
ladles of fresh milk from a white carabao without blemish, and the nectar from the
flower of the treeofmake-believe. The egg will be used to soften the bride’s heart; the
milk, to make her kind; and, the nectar, to make her see Barom-Mai as a young and
handsome king.
The king finds the egg through the help of Pawikan, the king of the sea turtles. He
luckily gets
milk from a white carabao the following breakfast, thanks to his cook. Hangin-Bai, the
nymph of the air, leads him to her sister, the wood nymph who had the magic flower
in her hair. Barom-Mai gives the three things to Impit Purok, who asked him to
prepare a big feast after Barom-Mai wins his queen back, and to invite Impit Purok as
the king’s guest of honor.
Impit Purok mixes the three ingredients and instructs Barom-Mai to plant the
mixture in the royal garden. The morning after it was planted, a tree grew. It had a
sweet smell and tasted good. When Madayaw-Bayho was given the fruit, she fell in
love with Barom-Mai.
The king throws a big feast but forgets to invite Impit
Purok. In retaliation, Impit casts a curse upon the fruit: The
sweet smell was replaced with a foul odor while the smooth skin
of the fruit was covered with thorns, which is how the durian
smells and looks today.

Great! You have already finished reading the Story of the First
Durian. Now, you will be reading another literary gem from the
Western Visayas literature – the epic, Hinilawod. An epic is a long
narrative poem that exemplifies the adventures of heroes with
supernatural abilities and characters with divine forces. Epics are
the oldest surviving form of poetry. Read the summary of the epic
Hinilawod then accomplish the task that follows.

Before that, here are some of the fast facts that you might want to know about the great
Western Visayan epic Hinilawod.
 Hinilawod Fast Facts:

• It is a 29,000-verse epic, written in an elevated language, which chronicles the

adventures of a hero and recounts the origin of Western Visayan civilization
• The epic serves as a reflection of the culture, religion, and rituals of the ancient
people of Sulod and the sacredness of family honor, courage and dignity.
• The title Hinilawod translates to “Tales from the Mouth of the Halawod River.”
• The epic was said to be accidentally discovered by Dr. Landa F. Jocano in 1955,
who produced an English translation of Hinilawod.
• Labaw Donggon, one of the protagonists in the epic, was worshipped by the
native Mondos of Dingle, Iloilo until the last years of Spanish rule in the
Philippines.
• The epic recounts the adventures of the three Suludnon demigod brothers
namely Labaw Donggon, Humadapnon, and Dumalapdap.

7. Hinilawod
Western Visayas–Ilonggo
Epic A Summary

When the goddess of the eastern sky Alunsina (also

known as Laun Sina, “The Unmarried One”) reached
maidenhood, the king of the gods, Kaptan, decreed that
she should marry. All the unmarried gods of the different
domains of the universe tried to win her hand to no avail.
She chose to marry a mortal, Datu Paubari, the mighty ruler
of Halawod.
Her decision angered her other suitors. They
plotted to bring harm to the newlyweds. A meeting of the
council of gods was called by Makliumsa-t’wan, god of the plains, where a decision by those
present was made to destroy Halawod by flood.
Alunsina and Paubari escaped harm through the assistance of Suklang Malayon, the
goddess and guardian of happy homes and sister of Alunsina, who learned of the evil plot and
warned the two so they were able to seek refuge on higher ground.
After the flood waters subsided, Paubari and Alunsina returned to the plains secretly.
They settled near the mouth of the Halawod river.
Several months later Alunsina became pregnant and told Paubari to prepare the siklot,
things necessary for childbirth. She delivered a set of triplets and summoned the high priest
Bungot Banwa to perform the rites of the gods of Mount Madya-as (the mountain abode of the
gods) to ensure the good health of the children. The high priest promptly made an altar and
burned some alanghiran fronds and a pinch of kamangyan. When the ceremony was over, he
opened the windows of the north side of the room and a cold northernly wind came in and
suddenly the three infants were transformed into strong, handsome young men.
Labaw Donggon, the eldest of the three, asked his mother to prepare his magic cape,
hat, belt and kampilan (sword) for he heard of a place called Handug where a beautiful maiden
named Angoy Ginbitinan lived. The journey took several days. He walked across plains
and valleys, climbed up mountains until he reached the mouth of the Halawod river.

When he finally met the maiden’s father and asked for her hand in marriage, the father
asked him to fight the monster Manalintad as part of his dowry. He went off to confront the
monster and with the help of his magic belt Labaw Donggon killed the monster and to prove his
feat he brought to Angoy Ginbitinan’s father the monster’s tail.
After the wedding, Labaw Donggon proceeded home with his new bride. Along the way
they met a group of young men who told him that they were on their way to Tarambang Burok to
win the hand of Abyang Durunuun, sister of Sumpoy, the lord of the underworld and whose
beauty was legendary.
Labaw Donggon and his bride continued on their journey home. The moment they arrived
home Labaw Donggon told his mother to take care of his wife because he is taking another
quest, this time he was going to Tarambang Burok.
Before he can get to the place he has to pass a
ridge guarded by a giant named Sikay Padalogdog
who has ahundred arms. The giant would not allow
Labaw Donggon to go through without a fight.
However, Sikay Padalogdog was no match
to Labaw Donggon’s prowess and skill in fighting so
he gave up and allowed him to continue. Labaw
Donggon won the hand of Abyang Durunuun and also
took her home. Before long he went on another journey, this time it is to Gadlum to ask for the
hand of Nagmalitong Yawa Sinagmaling Diwata who is the young bride of Saragnayan, the lord
of darkness.
This trip required him to use his biday nga inagta (black boat) on which he sailed across
the seas for many months, went across the region of the clouds, and passed the land of stones
until finally he reached the shores of Tulogmatian which was the seaside fortress of
Saragnayan. The moment he set foot on the ground Saragnayan asked him, “Who are you and
why are you here?”

To which he answered, “I am Labaw Donggon, son of Datu Paubari and goddess

Alunsina of Halawod. I came for the beautiful Nagmalitong Yawa Sinagmaling Diwata.”
 Saragnayan laughed. He told Labaw Donggon that what he wished for was impossible
to grant because she was his wife. Labaw Donggon then challenged Saragnayan to a duel
saying that whoever wins will have her.
The challenge was accepted and they started fighting. Labaw Donggon
submerged Saragnayan under water for seven years, but when he let go of him,
Saragnayan was still alive. The latter uprooted a coconut tree and started beating
Labaw Donggon with it. He survived the beating but was not able to surpass the
powers of Saragnayan’s pamlang (amulet) and eventually he gave up and was
imprisoned by Saragnayan beneath his house.
Back home Angoy Ginbitinan and Abyang Durunuun both delivered sons.
Angoy Ginbitinan’s child was named Aso Mangga and Abyang Durunuun’s son was
called Abyang Baranugon.
Only a few days after they were born, Aso Mangga and Abyang Baranugon
embarked to look for their father. They rode their sailboats through the region of eternal
darkness, passed the region of the clouds and the land of stones, finally reaching Saragnayan’s
home.

Saragnayan noticed that Abyang Baranugon’s umbilical cord have not yet been
removed, he laughed and told the child to go home to his mother.
Abyang Baranugon was slighted by the
remarks and immediately challenged Saragnayan to a
duel. They fought and Abyang Baranugon defeated
Saragnayan and won his father’s freedom.

Labaw Donggon’s defeat and subsequent

imprisonment by the Lord of Darkness also angered
his brothers. Humadapnon was so enraged that he
swore to the gods of Madya-as that he would wreak
revenge on all of Saragnayan’s kinsmen and
followers.

Humadapnon prepared to go to Saragnayan’s domain. He employed the aid of Buyong

Matanayon of Mount Matiula who was well-known for his skill in swordsmanship. For their
journey they rode on a sailboat called biday nga rumba-rumba. They travelled through the
region of the clouds, passed by the region of eternal darkness and ended up at a place called
Tarambang
Buriraw. In this place was a ridge called Talagas Kuting-tang where a seductive sorceress
named Piganun lived.
Piganun changed herself to a
beautiful maiden and captured
the heart of Humadapnon.
Buyong Matanayon begged
 with Humadapnon to leave the place with him but the latter
refused. After seven months passed, Buyong Matanayon
remembered that they have brought with them some ginger.
One evening at dinner time Buyong Matanayon threw seven
slices of ginger into the fire. When Pinganun smelled the odor
of burning ginger she left the dinner table because sorcerers
hated the odor of ginger. Immediately Buyong Matanayon
struck Humadapnon, who became unconscious. He dragged his friend with him and they were
able to escape.

They continued with their trek and everywhere they went they exacted revenge on all of
Saragnayan’s people and relatives. One day they reached a place called Piniling Tubig who
was ruled by Datu Umbaw Pinaumbaw. There was a big gathering in the village and when they
asked what was going on, they were told that the datu was giving his daughter for marriage to
whoever could remove the huge boulder that rolled from a mountain into the center of the
village. Many men tried their luck but no one so far was able to even move the stone.
Humadapnon took off his magic cape and used it to lift the stone and threw it back into
the mountain. The datu kept his word and Humadapnon married his daughter. During the
wedding feast Humadapnon heard about the beauty of the goddess of greed Burigadang Pada
Sinaklang Bulawan from a guest minstrel who sang at the celebration.
After the wedding Humadapnon went to seek the hand of the goddess in marriage.
Along the way he encountered Buyong Makabagting, son of the mighty Datu Balahidyong of
Paling Bukid who was also travelling with the same purpose in mind. Upon learning of
Humadapnon’s intent, Buyong Makabagting challenged him to a duel. They fought and Buyong
Makabagting was no match to Humadapnon’s strength and skill. The fight ended when Buyong
Makabagting surrendered and even promised to aid Humadapnon in his quest. Humadapnon
married the goddess and brought her home.

Meanwhile, right after Humadapnon left to seek Saragnayan’s followers and relatives
his brother
Dumalapdap left for Burutlakan-ka-adlaw where the maiden Lubay-Lubyok Hanginun si
Mahuyokhuyokon lived. For the trip he brought along Dumasig, the most powerful wrestler in
Madya-as. Several months later they came to a place called Tarambuan-ka-banwa where they
encountered the two-headed monster Balanakon who guarded a narrow ridge leading to the
place where the maiden lived.
With the aid of Dumasig, Dumalapdap killed Balanakon. However, upon approaching the
gate of the palace where the maiden lived, he was confronted by Uyutang, a bat-like monster
with sharp poisonous claws. There ensued a bloody battle between the
Dumalapdap and the monster. They fought for seven months and their skill and
prowess seemed to be equal. But on the seventh month, Dumalapdap was
able to grab on to Uyutang’s ankle and broke it. Then he took his iwang
daniwan (magic dagger) and stabbed Uyutang under the armpit.
Uyutang cried out so loud that the ridge where they were fighting broke
into two and there was an earthquake. Half of the ridge became the island of
Buglas (Negros) and the other became the island of Panay. Dumalapdap married Lubay-Lubyok
Hanginun si Mahuyokhuyokan and then took her home. Datu Paubari was very happy when he
was reunited with his three sons and he prepared a feast in their honor.
After the celebration, the three brothers left for different parts of the world. Labaw
Donggon went to the north, Humadapnon went south, Dumalapdap to the west and Datu
Paubari remained in the east.
 Lupa Kag Baybay
Ang Baboy sa Pinggan Earth andThe
SeaPigin a Plate
John
Ma.Iremil E. Teodoro
Milagros Kinaray-
C. Geremia Translation by Leoncio
Translation P. Deriada
by the author
a Poem
I am willing to be a pig
Maarado
Sugot takun nga mangin baboy To plow sow
Provided my pen is your arms.
mamanggas mang- the seeds
Kon ang tangkal ko mga butkun mo. As long as you feed me
abono fertilize weed
Basta damogan mo lang ako Kang
manghilamon harvest
With your smile and kiss
mangani
imo ngamalinas
yuhum gak haruk Aga, thresh afternoon,
Morning,
mapahangin
hapon. winnow
It is easy to make me fat.
manglay-ang spread dry
Dali man lang ako patambukon. Your
mapagaling mill promise
Ang pangako
manahup mo man lang
matig- remove
Not the chaffme
to abandon cook
ang
Ngapara
indigid-lang
ako pagpabay-an Amo the rice
Is the vitamins I
pinggan ni Nonoy all these
ang bitamina nga akun take.
masudlan just to fill
Ginatomar. And during
Nonoy’s nighttime
plate
piro
Kagkan-on pa lang d’ya
kon gabii
It’s your touch
wara pa maabay gani kon but this is only rice yet
Ang mga hapuhap mo man lang
paano ang pagsaruk kang On my back and
unmentioned breast
is how to
Sa akunagud
baybay likodmahimu
kag dughan
ang scoopcan
themake
sea to make
That me snore.
asin
Angnga darapli kag sa kanakun.
makapaghuraguk salt to go with the rice
pinggan ni Nonoy liwan and in Nonoy’s plate
magkitaay ang lupa kag again will meet the
baybay earth and sea
DID YOU KNOW?
☻ Cebuano, a language widely spoken in the southern Philippines.
☻ While the majority of Cebuano writers are from the Visayas and Mindanao region, the
most recognized Filipino literary outlet for them, including the Bisaya Magasin, is based in
Makati City in Metro Manila, while there is also a lively Cebuano community of writers in
the language, which is based outside the country.
☻ Cebuano literature, therefore, encompasses not only those Visayas and Mindanao-
based writers writing in Cebuano, but all written output in Cebuano, wherever its source is.
☻ Cebuano Literature may be traced back to several poetic forms. These included the
“balak”(which contains a “balaybay”or metaphor), the “tigmo”(riddles),
“panultihon”(proverbs), and “garay.
☻“Balitaw,”a poetic debate that required the participants (a man and a woman) to
improvise and even sing their lines, was also popular in the place. Improvised poetry was
also present in the dramatic genre of the “kulilising hari”.Cebuanos are known for having a
rich oral tradition.

CEBUANO
How many months
LITERATURE
have 28 days?

“The Queen of the South”

 “Balak”
MANHID
Maria Michaela “Tigmo”
Wala nimo mabatyagi ang
pagbati ko kanimo
Wala man lang nimo gitagad
bisan akong anino
Siguro kay wala kay gibati para
kanako
O siguro, ingon ana lang gyud
ka, ka manhid undo.

You didn’t even notice my

“Panultihon”
feelings for you
Mga Proverbio 22:1 ^ Proverbs 22:1 ^
Not even my shadow, no you
Ang usa ka maayong ngalan labi A good name is more to be desired
didn’t notice that too
pang maayong pilion kay sa dagkung than great wealth, and to be
Maybe because you don’t have
mga bahandi, Ug ang respected is better than silver and
feelings to give
mahigugmaong-kalooy kay sa salapi gold.
Boy, you’re just insensitive.
ug bulawan.
“Tigmo”
Visayan Riddle: Baboy sa lasang, ang tunok puro lansang.
English Translation: A wild pig of the forest is covered with spikes.
Visayan Riddle: Kabayo ni Adan, dili moka-on ug dili kabay-an.
English Translation: The horse of Adam does not eat unless someone rides on
it
The Santo Niño of Cebu
 Usahay
Sometimes

Nakadamgo
I had aakodream,
Nga ikaw thatugyou
akoand I
Nagkahugugma fell–inaylove.
Why
Nganong
do I dream
damunghonof you?
I dreamko(of
ikaw?
you) often
Damguhon
in my loneliness.
sa kanunay
Sometimes,
Sa akong kamingaw.
I regret. . .
Usahay,
Why wasnagamahay
I even born
Here in ako
this world?
Ngano’ng
Why do you nabuhi
brittle
pa
My
Ninglove
Kalibutan
for you,
Ngano’ngForgi tiaw-tiawan
you
Male version: Kanimo,
‘day
Female version:
Kanimo, da
– MAIN CHARACTER/THEIR PARTNER OR SANA PARTNER

– PLACE OR THE SETTING

Hinilawod
– MONSTER OR OPPONENT

–
–
GRANDSON OF THE KING OF GODS

FRIEND/APPRENTICE
WESTERN
VISAYAS
LITERATURE
Western Visayas, also known as Region VI, is
composed of the provinces Aklan, Antique, Capiz,
Iloilo, Negros Occidental, and the new province of
Guimaras, which was formerly a sub-province of Iloilo.
KAPTAN
ANGOY
ASO
MANALIN
GINBITA
MANGGA
HANDUG TAD
NAN
DATU
ALUNSINA PAUBARI
ABYANG
SIKAY ABYANG
BARANU
TARAMBA PADALO DURUNU
NG BUROK GON
LABAW GDOG UN
DONGGON

MALITONG
YAWA
SARAGN
SINAGMALING AYON
GADLUM DIWATA

BUYONG
MATANAY
ON
KAPTANTA PIGANUN
RAMBANG
BURIRAW

DAUGHTER
HUMADA OF UMBAW
PNON PINILING PINAUMBA
TUBIG W

DUMASI
BUYONG BURIGADAN
G G PADA
MAKABA
SINAKLANG BALANAK
GTING BULAWAN ON LUBAY-
LUBYOK
HANGINUN SI
MANUYOKHU
YOKAN
DUMALA TARAMBU UYUTAN
PDAP AN KA G
BANWA
Language

– Waray-Waray – lingua franca of Eastern

Visayas, including the islands of
Zumarraga and Homonhon, formerly called
“Samareño” and “Binisaya”
– Cebuano – second most widely used
language in Region VIII and is EASTERN
also
colloquially known as “Kana”
VISAYAS
– Abaknon – a unique dialect LITERATURE
spoken in Capul Island, Northern Samar which
is neither Waray nor Cebuano, but a potpourri
of several dialects; also
known as Capul language
– Baybayanon – used in Baybay City, Leyte
– Kinabalian – used in the municipality of San
Juan, Northern Leyte
THE PAST
The literature of Eastern Visayas is more popularly
known as Waray literature.

Francisco Pedro Chirino

Francisco – Alcina
Ignacio a - a Jesuit
historian
Jesuit historian whowho documented
said that the poetic
forms of Waray literature in as early as
the Bisayans had verses about
1668 which collected the following
the creationliterary
of theworks:
world,
paradise, the deluge and other
Candu
Balac
invisible things which they sang Diibtang Siday
while doing mundane activities CabungaoAwit and
BubuCanogon
nga
such as sailing, tilling the fields, Ginbuna
Titigoon
feasting, and even mourning Daragangan Susumaton
Ambahan
Sareta
the dead. Bical
Luwa
Candu – poem or songs about history which is sung
by paracandu
Diibtang – semi goddesses whose exploits are
recounted in an epic that is spoken by elderly men
who were still tattooed and related it with elegance
and grace
Cabungao and Bubu nga Ginbuna – two celebrated
lovers whose story is told in the coast of Ibabao, the
eastern coast of Samar
Daragangan – men of great strength, valour, and
unusual courage whose exploits are celebrated in
songs

Ambahan – meaning “multitude,” a song sung by the

community
Bical – a witty, humorous, and satirical joust where
the man usually says critical things of the woman
and vice-versa; requires two persons to exchange
verses in strict metrical time
Balac – a metaphorical, flowery, bombastic,
grandiloquent, and verbose courtship song with
accompaniment of stringed musical instruments and
is performed by a man and woman and usually
dealt
with the affairs of love
Siday – poem that celebrates the beauty of a
woman or bravery of a man and is performed by
the
most skilled of the folk poets
Awit – most popular Waray poetry and is
oftentimes
used in coordinating certain activities like rowing a
boat, weaving, or walking home from the fields
Canogon – poems for mourning the dead
Titigoon – riddles for games
Susumaton – stories told during gatherings
Sareta – a narrative poem that recounted the
acts of bravery and moments of weaknesses of
the Waray gods and goddesses

Luwa – poem that is best recited orally than

sung due to its formal nature
 – Comedia and zarzuela are plays that were
introduced by the Spaniards and were popularized
and performed during fiestas up to 1930s. These
were later on replaced by operettas as introduced
by the Americans.
PLAY
– Sinulog a dramatization of the Moro Raids of the
coasts of Samar in the 18th century and how the
Spanish priests and Warays repulsed these raids.
The raids aimed to capture men and women for sale
as slaves, especially the binocol or the women
known for their beauty and fairness of skin.
 THE PRESENT

– After the colonization of Spaniards and Americans, only

siday,
susumaton, and titigoon are the ancient Waray literary
works that
survived up to the present time, together with
– A young Waray writer said in a regional literature
conference “we
have no literature,” as the word waray means “nothing,”
and that
the only literature they have “comes out only during
– Luwa, siday, awit – oral forms
drinking of literature
modern time that are present
in sprees”.
the
 Literary works
– The Haiyan Dead By Merlie M. Alunan

– PINTADOS: THE HISTORY OF SAMAR

– A BALAC FROM THE EASTERN VISAYAS

DID YOU KNOW?

When the Spaniards arrived in Ilocos Norte in 1572, it took a toll on Ilocano
literature. During the Spanish era, Ilocano poetry was heavily influenced by
Spanish poetry. The earliest known written Ilocano poems were the
romances translated from Spanish by Francisco Lopez. Lopez was an
Augustinian friar who published his Iloko translation of the Doctrina Cristiana
(first book published in the Philippines by Cardinal Bellarmine) in 1621.
Most notable Ilocano
authors and their
selected literary works.
MOLAVE AND THE ORCHID
(Francisco Sionil Jose)
The Molave and the Orchid was a story of love and purpose. Its a story of an
old arrogant, strong and sturdy Molave tree and a beautiful orchid who
clings in the Molave's trunk. The little Orchid taught the Old Molave how to
love and what his purpose.
"Work is the logic of life. And sacrifice is the logic of love. You have not worked for
anyone, nor sacrificed for anyone. Even to someone as fragile and helpless like me
you cannot even be kind. Then what is your purpose? I do not think you know what
love is."
SIKSIKA LAENG
(Melvin Banggollay)
SIKSIKA LAENG
(Ilokano )
IKAW LAMANG
(Tagalog)
ONLY YOU
(English)
Siksila laeng
Ti ay-ayatek
Ti biak ko
Ti pagrukbaban
Inga’t panungpalan
Siksika laeng
Ti pagserbiyan
Ti ayaten
Iti ayat
A nasudi
Ken agpayso nga
awanpatinggana
Ikaw lamang Aking
mahal Sa aking
buhay Aking
sasambahin
Hanggang
Only you
My love
in my life
I’ll adore
until I’ll die
kamatayan
only you
i’ll serve
and love
with a love
so noble
and true
endlessly
Ikaw lamang ang
paglingkuran at
mamahalin na pag-
ibig na dalisay at
totoo ng walang
katapusan
A LOVE THAT ENDURES
(Melvin Banggollay)
A love that endures is
L-iving for someone dear
O-ffering unconditonal passion
V-alueing one's right so fair
E-nduring pains and depressions.
T-eaching the heart to be fair
An Acrostic Poem
H-ealing with gentle communication
A-cting what your heart declare
T-ouching with prudent conviction.
E-ntwined with forgiveness flare
N-urtured with tender passion
D-evelop with motives so clear
U-nderstanding amidst confusion
R-esolve to be always just and fair
E-ndures to serve even at oblivion
S-acred vow to serve without fear.
BICOLANO
LITERATURE
Bikolano literature has flourished,
providing a lively literary flavor unrivalled
by any other literary tradition.
DID YOU KNOW?
☻ Bikolano literature has its roots in orally transmitted poems and mythical narratives
that reflect the history of the people.
☻ Mariano Perfecto is the first Bikolano writer who published Bikola newspaper, he
was also responsible for the development of the first printing press named “Imprenta
de Nuestra Senora de Penafrancia.”
☻ While the latter development implied that Bikolano literature was dominated by
religious writing at that time.
☻ Protest drama became a form of expressing the people’s growing resentment of
the Spanish rule.
☻“Comedia” writers such as Sabas Armenta, Juan Alvarez Guerra and Juan Miraflor
have protest plays credited to their names.
☻ The dramatic genre of the “corrido,” which was popular among the Tagalog-
speaking folk, was adapted into the local ‘Bikol corrido”, with “Magamang Pobre”
being a popular example.
Bicolano Authors and
their Literary Pieces:
Day on the Farm
(Luis G. Dato)
I’ve found you fruits of sweetest taste
and found you Bunches of Duhat
growing by the hill, I’ve bound your
arms and hair with vine and bound you
With rare wildflowers but you are crying
still.
I’ve brought you all the forest ferns and
brought you Wrapped in green leaves
cicadas singing sweet, I’ve caught you in
my arms an hour and taught you Love’s
secret where the mountain spirits meet.
Your smiles have died and there is no
replying To all endearment and my gifts
are vain; Come with me, love, you are
too old for crying , The church bells ring
and I hear drops of rain.
A Cloud Named Looking-for-You
(Marne Kilates)
May heart aches like the heaving sea; My
tears riddle the face of the water; My pain
comes in guests, emptying me.
They say that it is the Princess
Nhanzao forever drifting over
the Sea of Er, Looking for her
love who had been turned into
stone and sunk into the depths
– from the song by Shi Zhi –
Yo u about the Yunnan legend.
Cursed with wandering, thin as air,
How can I touch the bottom of this grief?
How can I lift this shroud that covers
My love’s grave?
My heart heaves like the aching sea;
My tears riddle the face of the water;
My pain comes in guest, emptying me.
Ang Duwende
(Damiana Ligon Eugenio)
The characters in the story are the mother and her two daughters living in the
town of Legaspi. The story begin when the mother told her daughters to close
the door at night and started sharing story about the existing of the dwarfs in
their town. The siblings forgot to close the door and their windows. Few seconds
before midnight, the siblings hear the noise of the dwarfs and started
remembering the story told by their mother about them. They are frightened and
saw the dwarf enter the door and goes to the direction of the siblings. The dwarf
accidentally hit the gas lamp causing fire. Because of that incident the siblings
and the people of their town carefully closing their doors and windows before
going to sleep at night.