21st Century Literature From the Regions

21st Century Literature from the Regions Close Reading of Filipino Poetry Organic Unity  

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Established by the New Criticism school of thought. It says that all the interdependent parts of a literary selection must add up to create one whole. In literature, all the parts and aspects of a literary selection must co ntribute to one whole so crucially that if one part or aspect went missing, the literary selection cannot be complete or may not have the same meaning anymore. To understand the organic unity of a poem, you must use the process of close reading.

What is Close Reading? 

Close reading is a way for you to analyze the poem by carefully reading and rereading a text until you have found its interpretation.

When you close read a poem, what must you look for? 

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Context of the poem –  poem –  when  when it was written, the setting in which it was written, the reason why it was written Interdependent elements Persona

Reference: DIWA Senior High School Series: 21st Century Literature from the Philippines and the World POEM ANALYSIS: GABU by Carlos Angeles

Carlos A. Angeles   

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Born on May 25, 1921 in Tacloban City, Leyte Graduated from Rizal High in 1938 Various universities in pre-med and pre-law One sem at Ateneo de Manila o Two at UP in 1941 (member of the UP Writers’ Club) o One quarter at Central Luzon Colleges o Did not return to school after World War II 1950 to 1958 Chief of the Philippine bureau of International News Service o 1958 to 1980 Guest of the US State Department on a Smith-Mundt leader grant o Press assistant under the Garcia administration o Public relations manager of PanAm Airlines o

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Board of directors of International PEN, Philippine chapter  A Stun of Jewels 1963 o 47 poems o In 1964, when poetry was first considered in the Carlos Palanca Memorial o Awards for Literature, received first prize Republic Cultural Heritage Award for Literature o USA since 1978 with his family

Genre  

Philosophical (Existentialist) Lyric Poem

Persona 

Probably someone on a beach at Gabu, watching the rough sea, contemplating life

Theme 

Life can be restless like the sea; temporal, but desires p ermanence. Gabu by Carlos Angeles

The battering restlessness of the sea Insists a tidal fury upon the beach At Gabu, and its pure consistency Havocs the wasteland hard within its reach. Brutal the daylong bashing of its heart Against the seascape where, for miles around, Farther than sight itself, the rock-stones part And drop into the elemental wound. The waste of centuries is grey and dead And neutral where the sea has beached its brine, Where the split salt of its heart lies spread

Among the dark habiliments of Time. The vital splendor misses. For here At Gabu where the ageless tide recurs All things forfeited are most loved and dear. It is the sea pursues a habit of shores. MEANING AND IMAGERY The battering restlessness of the sea Insists a tidal fury upon the beach At Gabu, and its pure consistency Havocs the wasteland hard within its reach. 

Gabu A place in Ilocos Norte near the sea Often, when typhoons occur, places like this are affected greatly o Tsunami o Ex: typhoon Imbudo, July 2003 o The sea is restless and can be destructive Sea = Life Battering restlessness = Impermanent Meaning and Imagery o

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Brutal the daylong bashing of its heart Against the seascape where, for miles around, Farther than sight itself, the rock-stones part And drop into the elemental wound.    

The turmoil of the sea is continuous and powerful Brutal bashing = life’s chaos Elemental wound = Depths of the sea Meaning and Imagery

The waste of centuries is grey and dead And neutral where the sea has beached its brine,

Where the split salt of its heart lies spread Among the dark habiliments of Time.       

The sea has been there for centuries Waste of centuries = Past Once the sea touches shore, it becomes neutral Spilt salt = Bad luck Saltiness of the sea describes it’s darkness/deadness Time bears the “spilt salt” of life Meaning and Imagery

The vital splendor misses. For here At Gabu where the ageless tide recurs All things forfeited are most loved and dear. 

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The brilliance necessary for life is not there because in life even the most important things are lost Meaning and Imagery

It is the sea pursues a habit of shores.  

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Waves show that the sea is constantly moving, but always towards the shore Life is bounded by time, always moving, but what we all desire is a stable and eternal ending Spiritual context: Shore = afterlife

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Metaphor Sea = life o Personification The vital splendor misses o the sea pursues o Synechdoche Brutal the daylong bashing of its heart o Paradox All things forfeited are most loved and dear o Reaction o Always remember that our lives are fleeting The only constant thing in life is change Life can be rough, like the sea But we can believe that if the sea can find stability once it meets the shore, we can find it too

Reference: DIWA Senior High School Series: 21st Century Literature from the Philippines and the World

The Literary Forms in Philippine Literature

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

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

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

While it is true that Spain subjugated the Philippines for more mundane reasons, this former European power contributed much in the shaping and recording of our literature. Religion and institutions that represented European civilization enriched the languages in the lowlands,

introduced theater which we would come to know as komedya, the  sinakulo, the  sarswela, the playlets and the drama. Spain also brought to the country, though at a much later time, liberal ideas and an internationalism that influenced our own Filipino intellectuals and wr iters for them to understand the meanings of “liberty and freedom.” Literature in this period may be classified as religious prose and poetry and secular prose and  poetry. Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were included in early catechism and were used to teach Filipinos the Spanish langu age. Fernando Bagonbanta’s “Salamat nang walang hanga/gracias de sin sempiternas” (Unending thanks) is a fine example that is found in the  Memorial de la vida cristiana en lengua tagala (Guidelines for the Christian life in the Tagalog language)  published in 1605. Another form of religious lyrics are the meditative verses like the dalit appended to novenas and catechisms. It has no fixed meter nor rime scheme although a number are written in octosyllabic quatrains and have a solemn tone and spiritual subject matter. But among the religious poetry of the day, it is the pasyon in octosyllabic quintillas that became entrenched in the Filipino’s commemoration of Christ’s agony and resurrection at Calvary. Gaspar Aquino de Belen’s “ Ang  Mahal na Passion ni Jesu Christong Panginoon natin na tola” (Holy Passion of Our Lord Jesus Christ in Verse) put out in 1704 is the country’s earliest known pasyon. Other known  pasyons chanted during the Lenten season are in Ilocano, Pangasinan, Ibanag, Cebuano, Bicol, Ilongo and Waray. Aside from religious poetry, there were various kinds of prose narratives written to prescribe proper decorum. Like the pasyon, these prose narratives were also used for proselitization. Some forms are: dialogo (dialogue), Manual de Urbanidad (conduct book); ejemplo (exemplum) and tratado (tratado). The most wellknown are Modesto de Castro’s “ Pagsusulatan ng Dalawang Binibini na si Urbana at  si Feliza” (Correspondence between the Two Maidens Urbana and Feliza) in 1864 and Joaquin Tuason’s “ Ang Bagong  Robinson” (The New Robinson) in 1879, an adaptation of Daniel Defoe’s novel. Secular works appeared alongside historical and economic changes, the emergence of an opulent class and the middle class who could avail of a European education. This Filipino elite could now read printed works that used to be the exclusive domain of the missionaries. The most notable of the secular lyrics followed the conventions of a romantic tradition: the languishing but loyal lover, the elusive, often heartless beloved, the rival. The leading poets were Jose Corazon de Jesus( Huseng Sisiw) and Francisco Balagtas. Some secular poets who wrote in this same tradition were Leona Florentino, Jacinto Kawili, Isabelo de los Reyes and Rafael Gandioco. Another popular secular poetry is the metrical romance, the awit and korido in Tagalog. The awit is set in dodecasyllabic quatrains while the korido is in octosyllabic quatrains. These are colorful tales of chivalry from European sources made for singing and chanting such as Gonzalo de

Cordoba (Gonzalo of Cordoba) and Ibong  Adarna (Adarna Bird). There are numerous metrical romances in Tagalog, Bicol, Ilongo, Pampango, Ilocano and in Pangasinan. The awit as a popular poetic genre reached new heights in Balagtas’ “Florante at Laura” (ca.1838-1861), the most famous of the country’s metrical romances. Again, the winds of change began to blow in 19th century Philippines. Filipino intellectuals educated in Europe called ilustrados began to write about the downside of colonization. This, coupled with the simmering calls for reforms by the masses gathered a formidable force of writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto and Andres Bonifacio. This led to the formation of the P ropaganda Movement where prose works such as the  political essays and Rizal’s two political novels, Noli Me Tangere and the El filibusterismo helped usher in the Philippine revolution resulting in the downfall of the Spanish regime, and , at the same time planted the seeds of a national consciousness among Filipinos. But if Rizal’s novels are political, the novel Ninay (1885) by Pedro Paterno is largely cultural and is considered the first Filipino novel. Although Paterno’s Ninay gave impetus to other novelists like Jesus Balmori and Antonio M. Abad to continue writing in Spanish, this did not flourish. Other Filipino writers published the essay and short fiction in Spanish in  La Vanguardia,  El  Debate, Renacimiento Filipino, and Nueva Era. The more notable essayists and fictionists were Claro M. Recto, Teodoro M. Kalaw, Epifanio de los Reyes, Vicente Sotto, Trinidad Pardo de Tavera, Rafael Palma, Enrique Laygo (Caretas or Masks, 1925) and Balmori who mastered the  prosa romantica or romantic prose. But the introduction of English as medium of instruction in the Philippines hastened the demise of Spanish so that by the 1930s, English writing had overtaken Spanish writing. During the language’s death throes, however, writing in the romantic tradition, from the awit and korido, would continue in the novels of Magdalena Jalandoni. But patriotic writing continued under the new colonialists. These appeared in the vernacular poems and modern adaptations of works during the Spanish period and which further maintained the Spanish tradition. The American Colonial Period

A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writer’s individuality and cultivated consciousness of craft, sometimes at the exp ense of social consciousness. The poet, and later, National Artist for Literature, Jose Garcia Villa used free verse and espoused the dictum, “Art for art’s sake” to the chagrin of other writers more concerned with the utilitarian aspect of literature. Another maverick in poetry who used free verse and talked about illicit love in her poetry was Angela Manalang Gloria, a woman poet described as ahead of her time. Despite the threat of censorship by the new dispensation,

more writers turned up “seditious works” and popular writing in the native languages bloomed through the weekly outlets like Liwayway and Bisaya. The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in  poetry. Abadilla later influenced young poets who wrote modern verses in the 1960s such as Virgilio S. Almario, Pedro I. Ricarte and Rolando S. Tinio. While the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story as published in the Philippines Free Press, the College Folio and  Philippines  Herald . Paz Marquez Benitez’s “Dead Stars” published in 1925 was the first successful short story in English written by a Filipino. Later on, Arturo B. Rotor and Manuel E. Arguilla showed exceptional skills with the short story. Alongside this development, writers in the vernaculars continued to write in the provinces. Others like Lope K. Santos, Valeriano Hernandez Peña and Patricio Mariano were writing minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch). The romantic tradition was fused with American pop culture or European influences in the adaptations of Edgar Rice Burroughs’ Tarzan by F. P. Boquecosa who also penned Ang Palad ni  Pepe after Charles Dicken’s David Copperfield even as the realist tradition was kept alive in the novels by Lope K. Santos and Faustino Aguilar, amon g others. It should be noted that if there was a dearth of the Filipino novel in English, the novel in the vernaculars continued to be written and serialized in weekly magazines like Liwayway, Bisaya, Hiligaynon and Bannawag. The essay in English became a potent medium from the 1920’s to the present. Some leading essayists were journalists like Carlos P. Romulo, Jorge Bocobo, Pura Santillan Castrence, etc. who wrote formal to humorous to informal essays for the delectation by Filipinos. Among those who wrote criticism developed during the American period were Ignacio Manlapaz, Leopoldo Yabes and I.V. Mallari. But it was Salvador P. Lopez’s criticism that grabbed attention when he won the Commonwealth Literay Award for the essay in 1940 with his “Literature and Society.” This essay posited that art must have substance and that Villa’s adherence to “Art for Art’s Sake” is decadent. The last throes of American colonialism saw the flourishing of Philippine literature in English at the same time, with the introduction of the New Critical aesthetics, made writers pay close attention to craft and “indirectly engendered a disparaging attitude” towards vernacular writings  —   a tension that would recur in the contemporary  period. The Contemporary Period

The flowering of Philippine literature in the various languages continue especially with the appearance of new publications after the Martial Law years and the resurgence of committed literature in the 1960s and the 1970s. Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially,committed, gender/ethnic related or are

 personal in intention or not. Of course the Filipino writer has become more co nscious of his art with the proliferation of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet. The various literary awards such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life and Panorama literary awards encourage him to compete with his peers and hope that his creative efforts will be rewarded in the long run. With the new requirement by the Commission on Higher Education of teaching of Philippine Literature in all tertiary schools in the country emphasizing the teaching of the vernacular literature or literatures of the regions, the audience for Filipino writers is virtually assured. And, perhaps, a national literature finding its niche among the literatures of the world will not be far behind. REPRESENTATIVE COMPOSITIONS THROUGH THE YEARS AMERICAN PERIOD (1898-1941)

H istorical Background  

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The Filipino Revolutionists won against the Spaniards who coloniz ed us for more than 300 years. Our flag was hoisted on June 12, 1898 as a symbol of our independence. Emilio Aguinaldo was selected the first president of the Philippine republic but this was short lived. The Filipino –  American war resulted in the defeat of Gen. Miguel Malvar in 1903. The peace movements started as early as 1900. Many Filipinos started writing again and the nationalism of the people remain undaunted. Filipino writers went into all forms of literature like news reporting, poetry, stories, plays, essays and novels. Their writings clearly depicted their love of country and the ir longings for independence.

1.  Period of Re-Orientation 1898-1910 Air Castles (Poetry) by Juan F. Salazar (1909-1910) 1.  Period of Imitation 1911-1925 (American Period) The Sea by Natividad Marquez (Poetry) 1.  Period of Self Discovery (1925-1941)

Poetry  1896 by Aurelio Alvero

To a Lost One by Angela ManalangGloria Prayer of a Student by Trinidad L. TarrosaSubido

 Short Story  Dead Stars by Paz Marquez-Benitez The Making of a Writer by Salvador P. Lopez Shadow and Solitude (A translation of Solo Entre Las Sombras) by Claro M. Recto translated by  Nick Joaquin 1. Period of Re-Orientation 1898-1910   

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Air Castles (Poetry) by Juan F. Salazar (1909-1910 ) English as a literary vehicle came with the American occupation in August 13, 1898 By 1900, English came to be used as a medium of instruction in the public schools. From the American forces were recruited the first teachers of English. By 1908, the primary and intermediate grades were using English. It was also about this time when UP, the forerunner in the use of English in higher education, was founded. Writers of this period were still adjusting to the newfound freedom after the paralyzing effect of repression of thought and speech under the Spanish regime. They were adjusting the idea of democrac y, to the new phraseology of the English language and to the standards of the English literary style Writers had to learn direct expression as conditioned by direct thinking. They had to learn that sentence constructions; sounds and speech in English were no t the same as in the vernacular. The first attempts in English were in two periodicals of this time: El Renacimiento: founded in Manila by Rafael Palma in 1901 o Philippines Free Press: established in Manila in 1905 by R. McCullough Dick and o D. Theo Rogers

1. Period of I mitation (1911-1925) By 1919, the UP College Folio published the literary compositions of the first Filipino writers in English. They were the pioneers in short story writing. They were then groping their wa y into imitating American and British models which resulted in a stilted, artificial and unnatural st yle, lacking vitality and spontaneity. Their models included Longfellow and Hawthorne, Emerson and Thoreau, Wordsworth and Tennyson, Thackeray and Macaulay, Longfellow, Allan Poe, Irving and other American writers of the Romantic Sch ool. Writers of this folio included Fernando Maramag (the best ed itorial writer of this period) Juan F. Salazar, Jose M. Hernandez, Vicente del Fierro, and Francisco M. Africa and Victoriano Yamzon. They pioneered in English poetry.

 ESSAYS  The noted essayists of this time were: Carlos P. Romulo , Jorge C. Bocobo, Mauro Mendez, and Vicente Hilario. Their essays were truly scholarly characterized by substance and structure. They excelled in the serious essay, especially the editorial type. The nex t group of writers introduced the informal essay, criticism and the journalistic column. They spiced their work with humor, wit and satire. These group included Ignacio Manlapaz, Godefredo Rivera, Federico Mangahas, Francisco B. Icasiano, Salvador P. Lopez, Jose Lansang and Amando G. Dayrit. SHORT STORIES  In the field of short stories, DEAD STARS by Paz Marquez Benitez written in the early 1920’s stand out as a model of perfection in character delineation, local color, plot and message. Other short stories published during this time were but poor imitations of their foreign models. The UP College Folio was later replaced by the Philippine Collegian. Newspapers and  periodicals also saw print during this time like the Bulletin, the Philippines Herald (1920), the Philippine Review, the Independent, Rising Ph ilippines and Citizens,and the Philippine Education Magazine 1924 1. Period of Self D iscovery (1925-1941) By this time, Filipino writers had acquired the mastery of English writing. They no w 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. Poets wrote 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. Probably because of the incentives provided by publications like the Philippine Free Press, The Graphic, The Philippine Magazine and college publications like the UP Literary Apprentice,  poetry and the short story flourished during these times. JAPANESE PERIOD (1941-1945)

To My Native Land by Tarrosa Subido My Father’s Tragedy by Carlos Bulosan Shall We Walk? by Pura Santillan Castrence

H istorical Background 

Between 1941-1945, Philippine Literature was interrupted in its development when the Philippines was again conquered by another foreign country, Japan. Philippine literature in English came to a halt. Except for the TRIBUNE and the PHILIPPINE REVIEW, almost all newspapers in English were stopped by the Japanese. 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. The weekly LIWAYWAY was placed under strict surveillance until it was managed by Japanese named Ishiwara. 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.

F ilipino Poetry  The common theme of most poems during the Japanese occupation was nationalism, country, love, and life in the barrios, faith, religion and the arts.

F ilipino Drama 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 o f playwriters were: 1. 2. 3. 4.

Jose Ma. Hernandez – wrote PANDAY PIRA Francisco Soc Rodrigo – wrote sa PULA, SA PUTI Clodualdo del Mundo – wrote BULAGA (an expression in the game Hide and Seek). Julian Cruz BalmaNceda – wrote SINO BA KAYO?, DAHIL SA ANAK, and HIGANTE  NG PATAY

Philippine Literature in E nglish (1941-1945) Because of the strict prohibitions imposed b the Japanese in the writing and publishing of works in English, Philippine literature in English experienced a d ark period. The few who dared to write did so for their bread and butter or for propaganda. Writings that came out during this period were journalistic in nature. Writers felt suppressed but slowly, the spirit of nationalism started to seep into their consciousness. While some continued to write, the majority waited for a better climate to pu blish their works. Noteworthy writer of the  period was Carlos P. Romulo who won the Pulitzer Prize for his bestsellers I SAW THE FALL OF THE PHILIPPINES, I SEE THE PHILIPPINES RISE and his MOTHER AMERICA AND

MY BROTHER AMERICANS REBIRTH OF FREEDOM (1946-1970)

H istorical Background  The Americans returned in 1945. Filipinos rejoiced and guerrillas who fled to the mountain  joined the liberating American Army. On July 4, 1946, the Philippines regained is freedom and the Filipino flag waved joyously alone. The chains were broken.

Palanca awards Another inspiration for writers in Filipino was the launching of the Palanc a Memorial Awards for literature headed by Carlos Palanca Sr. in 1950. (Until now, the awards are still being given although the man who founded it has passed away). The awards were given to writers of short stories, plays and poetry. The first awardees in its first year, (1950-51) short story were the following: First Prize: KUWENTO NI MABUTI by Genoveva Edroza Second Prize: MABANGIS NA KAMAY…MAAMONG KAMAY by Pedro S. Dandan Third Prize: PLANETA, BUWAN AT MGA BITUIN by Elpidio P. Kapulong (1946-1970)

New F ilipino Literature Philippines literature in Tagalog was revived during this period. Most the mes in the writings dealt with Japanese brutalities, of the poverty of life under the Japanese government and the  brave guerilla exploits.  Newspapers and magazine publications were re-opened like the Bulaklak, Liwayway, Ilang Ilang and Sinag Tala. Tagalog poetry acquired not only rhyme but substance and meaning. Short stories had better characters and events based on facts and realities and themes were more meaningful. Novels became common but were still read by the people for recreation. The  people’s love for listening to poetic jousts increased more than before and people started to flock to places to hear poetic debates.

Rebirth of F reedom (1946-1970)  Poetry

When I see a Barong-Barong by MaximoRamos (1946) Short Story Plighted Word by Narciso G. Reyes Scent of Apples by Bienvenido Santos Cadaver by Alberto S. Florentino They Called It “BROTHERHOOD”by MaximoV. Soliven

PERIOD OF ACTIVISM (1970-1972)

H istorical Background  According to Pociano Pineda, youth activism in 1970-72 activism was due to domestic and worldwide causes. Activism is connected with the history of our Filipino youth. Because of the ills of society, the youth moved to seek reforms. Some continued to believe that the democratic government is stable and that it is only the people running the government who are at fault. Some believed that socialism or communism should replace democracy. Some armed groups were formed to bring down the democratic form of government. Man y young people became activists to ask for changes in the government. In the expression of this desire for change, keen were the writings of some youth who were fired with na tionalism in order to emphasize the importance of their petitions. Many young activists were imprisoned in military camps together with rebel writer Valedictorian sa Hillcrest ni Rolando Tinio Beggar Children by Emmanuel Torres

PERIOD OF THE NEW SOCIETY (1972-1980)

H istorical Background  The period of the New Society started on September 21, 1972. The Carlos Palanca Awards continued to give annual awards.

Almost all themes in most writings dealt with the development or progress of the country – like the Green Revolution, family planning, proper nu trition, environment, drug addiction and  pollution. The New Society tried to stop pornography or those writings giving bad influences o n the morals of the people. All school newspapers were temporarily stopped and so with school organizations. The military government established a new office called the Ministry of Public Affairs that supervised the newspapers, books and other publications. The government took part in reviving old plays like the Cenaculo, the Zarzuela and the Embayoka of the Muslims. The Cultural Center of the Philippines, the Folk Arts Theater and even the old Metropolitan Theater were rebuilt in order to have a place for these plays. Singing both Filipino and English songs received fresh incentives. Those sent abroad promoted many Filipino songs. The weekly publications like KISLAP, and LIWAYWAY helped a lot in the development of literature. These became outlets for our writers to publish many of their works.

Poetry   Philosopher’s Love Song by TitaLacambra-Ayala The Tomato Game by N.V.M. Gonzales  I Married a Newspaperman by Maria Luna-Lopez  PERIOD OF THE THIRD REPUBLIC (1981-85)

H istorical Background  After ten years of military rule and some changes in the life of the Filipino which started under the New Society, Martial Rule was at last lifted on January 2, 1981. To those in government, the lifting of military rule heralded a change. To th eir perceptions, the Philippines became a new nation and this; former President Marcos called “The New Republic of the Philippines.” A historian called this the Third Rep ublic. The First Republic he claimed was during the Philippine Republic of Emilio Aguinal do when we first got our independence form the Spaniards on June 12, 1898. The Second was when the Americans granted us our independence on July 4, 1946. This period, January 2, 1981, was the Third Republic when we were freed from Military Rule. During this period, it cannot be denied that many people seethed with rebellion and protest  because of the continued oppression and suppression. This was further aggravated when former

Senator Benigno S. Aquno Jr., the idol of the Filipino masses, whom they hoped to be the next  president, was president, was brutally murdered on August 21, 1983. This stage of the nation had its effect on our literature. After the Aquino assassinated, the  people’s voices could no long be contained. Both the public and private sectors in government were chanting, and shouting; women, men and the youth became bolder and their voices were raised in dissent. We can say that Philippine literature, in spite of the many restrictions, still surreptitiously retained its luster.

Poetry  Death Like Stone for Benigno S. Aquino Jr. from Philippine Panorama

F ables The Emperor’s New Underwear by Mynardo A. Macaraig The Crown Jewels of Heezenhurst by Sylvia Mendez Ventura The King’s Cold by Babeth Lolarga

 Short Story  Hunger by Gilda Cordero-Fernando

Play  Sepang Loca by Amelia Lapeña-Bonifacio

 Speech Aquino’s Speech in Singapore President Aquino’s Speech before the U.S. Congress Cory Bats for the Rights of the World’s Oppressed  Literature: Definition, Nature, and Function

What is LITERATURE? In the attempt to define the term ‘literature’, one c an distinguish between two general directions: a broad and a narrow definition. The broad definition incorporates everything that has been written down in some form or another, i.e., all the written manifestations of a culture (hence, there are terms such as ‘research literature’, ‘the literature on civil rights’, etc.).

 Needless to say that such a broad definition is problematic as it does not really facilitate communication about the topic. Furthermore, this concept ne glects the fact that in many cultures in the past and for a number of indigenous peoples today, literature has not been captured in written media but has been passed down in a long oral tradition of storytelling, myths, ritual speeches, etc. Attempts to come up with a narrow definition have, however, led to such a diversity of approaches that one can hardly talk about ‘the’ narrow definition. Nevertheless, it is possible to sift out some of the criteria scholars have applied in order to demarcate ‘literary texts’ from ‘nonliterary texts’. These criteria include: • fictionality –  product of imagination • specialized language –  differs considerably from normal everyday language • lack of pragmatic function –  not have been intended by the author for any specific purpose • ambiguity –  open to interpretation What is LITERATURE? It is an enduring expression of a significant human experience in words well-chosen and arranged.

enduring  –  lasting, not ephemeral expression –  sharing; a manifestation  significant  –  important, necessary, meaningful human –  people; different human conditions experience –  heart of literature words well-chosen and arranged  It comes from a Latin word “litera” which means an acquaintance with letters. Literature can be defined as everything in print. It is a body of literary productions, either oral, written or visual, containing imaginative language that realistically portrays thoughts, emotions, and experience of the human condition. Some loosely interpret literature as a faithful reproduction of man’s manifold ex periences  blended into one harmonious expression. Because literature deals with ideas, thoughts and emotions of man, literature can be said to be the story of man. Man’s loves, grief, thoughts, dreams and aspirations coached in beautiful language is literature. Literature is a product of a particular culture that c oncretizes man’s array of values, emotions, actions, and ideas. The Nature of Literature Literature is language in use that provides insights and intellectual stimulation to the reader. As one explores literature, he likewise discovers the beauty of language.

The language that is used by literature differs from ordinary spoken or written language. Literature uses special words, structure, and characteristics. Primarily the language of literature differs from ordinary language in three ways: language is concentrated and meaningful; its purpose is not simply to explain, argue, or make a point but rather to give a sense of pleasure in the discovery of a new experience; and  it demands intense concentration from the readers. It indicates that the language of literature has originality, quality, creativity, and pleasure. The Functions of Literature Dulce and Utile

 Dulce –  to entertain; to give pleasure and enjoyment Utile –  to instruct 4Rs of Literature  Recreation –  Literature is a means of reassembling reality. We want to see what we cannot see in reality.

 Recognition – Literature helps us recognize the people and their contribution.  Redemption – Literature is a means of modification of behavior.  Revelation – Literature is a means of recording history. It reveals the past, the present, and the future. All the above definitions describe literature from different perspectives. Still, there are certain things that are common to them. They all recognize the fact that: i. Literature is imaginative ii. Literature expresses thoughts and feelings iii. Literature deals with life experiences iv. Literature uses words in a powerful, effective and yet captivating manner vi. Literature promotes recreation and revelation of hidden facts. Literature is thus summed up as permanent expressions in words (written or spoken), specially arranged in pleasing accepted patterns or forms. Literature expresses thoughts, feelings, ideas or other special aspects of human experiences.

Philippine Poetry: Its Form, Language and Speech

Poetry in the Philippines is not different from its other counterparts around the world. In the early 1900s, Filipino poetry celebrated romanticism, and several poems about love flourished. Eventually, as the years went on, poetry became more formalist –  the emphasis of the poetry is more on the form and language that the poet used, rather than the theme itself. Then, modern  poetry sprouted, and nowadays, writers are more adventurous in their craft. Elements of poetry used by local writers in their poems       

Senses Imagery Diction Rhyme Scheme Idea of a speaker Structure Word order

Senses and images

These are used by the writers to describe their impressions of their topic or object of writing. The writer uses carefully chosen and phrased wo rds to create an imagery that the reader can see through his or her own senses. The kind of sense impressions in poetry are c ategorized in mainly the following:     

Visual imagery Olfactory imagery Gustatory imagery Tactile imagery Auditory imagery

Diction

The denotative and connotative meaning of the words in a sentence, phrase, paragraph, or poem. Rhyme scheme

The way the author arranges words, meters, lines, and stanzas to create a coherent sound when the poem is read out loud. It may be formal or informal, depending on the way the poem was written by the poet. Idea of a Speaker

The speaker in the poem is the voice that talks to the reader.

Sometimes, it refers to itself as “I” or “me” or, sometimes in the third person (she, he, his, her). You should also note that the speaker is not necessarily the poet. The poet may have a different  persona in mind while writing the poem and may not have taken the situations in the poem from his or her life experiences. Structure

The arrangement of words and lines, either to gether or apart. Also refers to the way the interdependent parts of it are organized to form a whole poem. Word Order

The natural or unnatural arrangement of words in a poem. A poet may use a word grammatically or not –  often called as poetic license –  and may invent words, too. Source: DIWA Senior High School Series: 21st Century Literature from the Philippines and the World

Summary of the Philippine Literary Periods Precolonial Period    

characterized mainly by oral tradition crude on ideology and phraseology literature shows our customs and traditions in everyday life self –  expression

Spanish Period  

literature is classified as religious and secular liberal ideas and internationalism influenced Filipinos minds in understanding “liberty and freedom”

American Period  

firm establishment of English as the medium of instruction in all schools active arousal in the field of literature started to be felt in the following newspapers

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Filipino writers went into all forms of literature like news, reporting, poetry, stories,  plays, essays, and novels writings clearly depicted their love of country and their longings for independence.

Japanese Period 

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Philippine literature in English came to a halt –  writers in English turned to writing in Filipino Filipino literature was given a break during this period topics and themes were often about life in the provinces

Postwar Period

 Before The Declaration Of Martial Law 

Philippine writing in vernacular became popular

1946-1960 

The writers had a better knowledge of their craft and enjoyed political activism

1970 –  1972 (Rise of Nationalism and Students Activism)  

 Nationalism was emphasized by young and aspiring writers. Revolutionary form of literature attacked the ills of the society

1970 –  1972 (Period of New Society) 

Provided a venue in reviving traditional drama and in creating original plays.

1981 –  1985 (3rd Republic) 

Continues to reflect on social, political realities.

Contemporary Period 

Filipino writer has become more conscious of his art with the proliferation of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet