General de Jesus College San Isidro, Nueva Ecija
LITERATURE 1 ( Philippine Philippine Literature Literature)) Definitions of Literature The word literature is derived from the Latin term litera which litera which means letter. Literature refers to the ractice and rofession of writing. It comes from human interest in telling a stor!, in arranging words in artistic forms, in descri"ing in words some asects of human e#eriences. Litera Literatur turee is charact characteri eri$ed $ed "! "eaut! "eaut! of e#res e#ressio sion n and form form and "! univer universit sit! ! of intellectual and emotional aeal. Literatur Literaturee shows us onl! what a societ! societ! is li%e in a certain certain age, "ut also what individual individual feel a"out it, what the! hoe from it, and how the! can change it or escae from it. Litera Literatur turee is a faithf faithful ul rerod reroduct uction ion of man& man&s manifo manifold ld e#eri e#erience encess "lende "lended d into into one harmonious e#ression. Literature, according to 'oodsworth, is the e#ression of life in words of truth and "eaut!. "eaut!. It is the written record of man&s sirit, sirit, his emotions, thoughts and asirations. It is the histor! and onl! histor! of the human h uman soul.
Why do we read literature? (. read read for for le leas asur uree ). readi reading ng for for rela rela#at #atio ion n *. readi reading ng to ac+ ac+ui uire re %now %nowle ledg dgee Importane of !tudyin" Literature (. 'e stud! litera literature ture so that that we can "etter "etter areciat areciatee our literar! literar! heritag heritage. e. ). Li%e Li%e other other race racess of the world world,, we need to unders understa tand nd that we have a grea greatt and no"le no"le tradition which can serve as the means to assimilate our culture. *. Through Through such a stud! stud!,, we will reali$e reali$e our literar literar! ! limita limitatio tions ns condition conditioned ed "! certai certain n historical factors and we can ta%e stes to overcome them. . -"ove -"ove all, as ilii iliinos nos,, who trul! trul! love and ta%e ride ride of our own cultur culture, e, we have to manifest our dee concern for our own literature and this we can do "! stud!ing the literature of our countr!. countr!. Approahes in !tudyin" Literature (. -nal!tical -nal!tical aroach/ aroach/ the elements elements of fiction fiction include lot, character character,, setting, setting, oint of view, view, theme, s!m"ol, allegor!, st!le and tone. ). Thematic Thematic aroach/ aroach/ 'hat 'hat is the the stor!, stor!, the oem, the the la!, la!, or the essa! essa! a"out0 a"out0 *. 1istorica 1istoricall aroach/ it aims aims at illustrati illustrating ng the historical historical develoment develoment of literatur literature. e. -ll the literature e#ists in time and as such "ears the unmista%a"le imrint of the eriod and culture in which it is written.
#inds of Literature (. $ral%Unreorded Literature / a %ind of literature that is handed down from generation to generation "! word of mouth. ). Written%Reorded Literature / a %ind of literature that is handed down from generation to generation "! means of writing. Literature has two &asi di'isions (. 2rose 2rose is a form form of literat literature ure writte written n in an ordinar ordinar! ! ever!da! ever!da! languag language. e. It is a common common form of discourse without metrical structures. ). 2oetr! 2oetr! is a form form of liter literatu ature re written written in verses verses in which which metrica metricall structur structuree is usuall! usuall! o"served. It draws its stri%ing lines from the formation of rh!me and rh!thm.
The similarities and differences "etween rose and oetr! are3 rose oetry (. Ideas are e#ressed in forms of sentences. (. Ideas are e#ressed in forms of verses ). Its structure is divided in aragrah. ). Its structure is divided into stan$as. *. E#ressions are usuall! commonlace. *. E#ressions are usuall! figurative. . 4h!me, rh!thm, not used. . 4h!me and rh!thm, essential. 5. It is usuall! long. 5. It is usuall! short. rose and poetry are similar in the followin" aspets 3 (. 6oth are considered as records of man&s thoughts and ideas drawn from the actualities of life. ). 6oth are classified as ieces of literature. *. 6oth are considered as vehicles of thoughts aimed to inform, to educate, to entertain, to ersuade, and to critici$e for the enhancement of man&s wisdom. . 6oth serve as man&s outlets for suressed emotions. #inds of oetry (. Narrative Poetry/ is a oetr! whose rincial aim is to tell or narrate a stor!. It is considered as one of the oldest form of literature. ). Lyric Poetry- is the form of oetr! in which the rimar! and direct o"ject is to e#ress the ersonal emotion or emotional concetion of the writer. *. Dramatic poetry/ is designed to "e so%en and acted on stage. #inds of *arrati'e oetry (. Epic Poetry/ is a long narrative oem elevated in st!le and dignified in tone telling of the adventured and achievements of a hero imortant to the histor! of his race or nation. a. Hinilawod- an ancient eic in 2ana!. It tells the stor! of the origin of the three divisions of 2ana!/ Iloilo, -nti+ue and -%lan. It is a"out -lunsina, mistress of the eastern seas and au"ari, a mortal, and the adventures of their giant trilets. ". Ibalon/ an ancient eic in "icol which tells the stor! of three 6icol heroes, 6altog, 1andiong and 6antog. c. The Darangans of Mindanao/ the darnagans consists of )5 eic tales revolving around the great god/li%e hero named 6antugan. d. Hdhd and !lim/ these two eics were roduced "! Ifugaos. Hdhd- deals with the stor! of the great Ifugao culture and of a hero %nown as -ligu!on. !lim /deals with the lives of the gods and the haenings in the s%! world.
). "allad / is a simle narrative oem often meant for singing characteri$ed "! simlicit! of language and usuall! dealing with "asic su"jects such as love, honor or death. *. #omance/ is a long, imaginative oetical narrative a"out the adventures of fair ladies and "rave %nights. . Metrical Tale/ has varied themes or su"ject matter. It deals mostl! a"out homel! jo!s and sorrows, events of ever!da! living not of the aristocrac! "ut of the fol%s, moral, religious, and olitical issues of the da!. Types of Lyri oetry (. Elygy- is a oem of mourning or reflection on the death of an individual. ). $de- is a serious or thoughtful oem, usuall! with a formal structure. It is a"out a su"ject written when the oet is at the height of his emotion. *. %onnet- is a l!ric oem of ( iam"ic entameter lines. a. %ha&espearean or English- consists of three +uatrains of a"a" cdcd efef followed "! a coulet, g.g. Sha%esearean sonnets generall! use iam"ic entameter. ". Petrarchean or Italian- consists of fourteen iam"ic entameter lines divided into octave rh!ming a""aa""a and sestet rh!ming cdecde or cdccdc.
. %ong- is a l!ric oem set to mucic. 5. Idyll- is a descritive oem of rural or astoral character which e#resses the oet&s feelings for his immediate landscae. Types of Dramati oetry (. Tragedy- is a form of drama in which the leading characters are drawn into a dilemma "! social and s!chological forces that finall! drag the stor! to a sad ending, just li%e the death of the leading characters. ). 'omedy- is a form of drama in which the leading characters draw u with human follies in the light of entertaining situations and eventualities that finall! lead the stor! to a ha! ending. It see%s to amuse7entertain. Its urose is to ma%e the audience laugh. *. Dramatic Monologe- it is a one/sided conversation, the seech is given "! one character and the thought, emotions of the sea%er is revealed through his actions. E.g. 89! Last :uchess; . Dramatic History- is a dramatic la! dealing with a ast historical event. 5. Mas(e- was a form of festive courtl! entertainment which flourished in si#teenth and earl! (
Mas(e involved music and dancing, singing and acting, within an ela"orate stage design, in which the architectural framing and costumes might "e designed "! a renowned architect, to resent a deferential allegor! flattering to the atron. 2rofessional actors and musicians were hired for the sea%ing and singing arts.
+eneral Types of rose 1, Essay- is a rose comosition which discusses a articular su"ject. It ma! deal with an! su"ject and ma! "e descritive, e#ositor! argumentative, narrative or an! com"ination of these? it ma! "e humorous or serious. -n essa! is usuall! unified "! a central idea with all arts in the essa! contri"uting to that idea. -, Prose Drama- has the same t!es as the oetic la!s e#cet that these are in rose form. ., Prose Fiction- is a rose comosition in which character, setting or events are imaginativel! created. Types of rose /ition a, Prose Allegory- is a rose form in which there is a long imlied comarison "etween unli%e things. It is therefore a metahor e#anded to a considera"le length. The greatest rose allegor! in the literature of the world is 6un!an&s 2ilgrim&s 2rogress u"lished in (@ designed to illustrate a religious truth or teach a lesson. ", Tale- is a stor! sets forth strange and wonderful events in more or less "are summar!, without detailed character drawing. The goal is revelation of the marvelous rather than revelation of character =e.g. Jac% and the 6eanstal%; an English fol%tale in which the marvelous "eanstal% and giant is more imortant than Jac%&s ersonalit!>.
h, Fairy Tale- is a short stor! in which there are some suernatural or magical events. The characters, that are neither individuali$ed nor locali$ed, are often not even given names, "eing called merel! 8a %ing;, 8a +ueen;, or 8a rincess;, or 8a oor farmer;. i, Myth- is a sacred stor! from the ast. It ma! e#lain the origin of the universe and of life, or it ma! e#ress its culture&s moral values in human terms. 9!ths concern the owers who control the human world and the relationshi "etween those owers and the human "eings. 0, Foltale- is a stor! that, in its lot, is ure fiction and that has no articular location in either time or sace. , Legen!- is a stor! from the ast a"out a su"ject that was, or is "elieved to have "een historical. Legends concern eole, laces and events. Bsuall!, the su"ject is a saint, a %ing, a hero, a famous erson, or a war. - legend is alwa!s associated with a articular lace and a articular time in histor!. 2, "iography- is an account of a erson&s life written "! another. 3, Autobiography- is an account of a erson&s life written "! himself. 4, Letter- is a direct or ersonall! written or rinted message addressed to a erson or organi$ation. 5, #ournal- is a rose comosition u"lished eriodicall! for an e#clusive readershi. 6, Diary- is a dail! record of ersonal activities, reflections or feelings written "! a erson for roserit!. Point o$ %ie&
Literature rovides a lens through which readers loo% at the world. 2oint of view is the wa! the author allows !ou to 8see; and 8hear; what&s going on. S%illful authors can fi# their reader&s attention on e#actl! the detail, oinion, or emotion the author wants to emhasi$e "! maniulating the oint of view of the stor!. 2oint of view comes in three varieties, which the English scholars have handil! num"ered for !our convenience. (. /irst7person point of 'iew is in use when a character narrates the stor! with I-me-mymine in his or her seech. The advantage of this oint of view is that !ou get to hear the thoughts of the narrator and see the world deicted in the stor! through his or her e!es. 1owever, remem"er that no narrator, li%e no human "eing has comlete self/%nowledge or, for that matter, comlete %nowledge of ever!thing. Therefore, the reader&s role is to go "e!ond what the narrator sa!s. ). Third7person point of 'iew , in which the author uses yo and yor) is rare? authors seldom sea% directl! to the reader. 'hen !ou encounter this oint of view, a! attention. 'h!0 The author has made a daring choice, ro"a"l! with a secific urose in mind. 9ost times, third/erson oint of view draws the reader into the stor!, almost ma%ing the reader a articiant in the action. *. $mnisient7person point of 'iew is that of an outsider loo%ing at the action. The writer ma! choose third- person omniscient) in which the thoughts of ever! character are oen to the reader, or third- person limited) in which the reader enters onl! one character&s mind either throughout the entire wor% or in a secific section. Third erson limited differs from first/erson "ecause the author&s voice, not the character &s voice, is what !ou hear in the descritive assages. Tone an! Moo! These are literar! elements integrated in literar! wor%s. Identif!ing the tone and mood in literatures is an imortant clue to discover the literar!&s theme. Considering how the author creates a tone and mood hels the reader understand and areciate the author&s st!le. Tone- is a manner, a feeling or atmoshere the author has meant to set in the stor!, or towards a su"ject. It can also "e considered as the attitude or feeling of the writer towards a su"ject. The tone can "e revealed "! the author&s choice of words and details. The author ma! use a negative
or ositive tone for his wor%. Some ossi"le adjectives to descri"e a tone, are seriousness, "itterness, jo!ful, humorous, amusing, angr!, ironic, susicious, and man! more. Moo!- is the feeling or atmoshere erceived "! the reader. It is the emotions !ou feel while reading. The mood indicates a revailing feeling, or frame of mind, eseciall! at the start of the stor!. It creates a sense of e#ectation to readers of what is to follow. -ll the choices for setting, images, o"jects and details contri"ute in creating a mood. Tone simle refers to how the author feels towards the su"ject, or towards something. ou will %now what the author&s tone is iml!ing "! the words he uses. 'hile 8mood; refers to the feeling of the atmoshere the author is descri"ing. It is what the author ma%es !ou feel when !ou read his writings. ou can read a sentence, and feel sad, ha! or angr!. Short Story - short stor! is a wor% of fiction that can "e read in one sitting with the lot, setting and characters contri"uting to a single imression, a oneness of effect. Elements o$ Short Story
(. Setting- time and lace of the stor! - uts the reader in the stor! "! giving the reader the feeling of "eing in the situation -creates atmoshere "! the ositive or negative feelings associated with the lace ). 'haracteri(ation- involves understanding that a erson&s character is inseara"le from his actions. *. Plot- is the attern of events that is develoed from the interactions "etween characters. - lot is a attern of events in a cause and effect relationshi. a. Cause/ things that ma%e something haen ". Effect/ what haens "ecause something was done 'on$licts- the ro"lem the characters encounter. Their conflicts can "e3 a) E*ternal- conflict with others and nature b) +nternal- conflict within themselves . %oice,Tone- refers to the attitude a writer ta%es toward his su"ject and reader. 5. Theme- is a ercetion a"out life or human nature that the writer wants to share with the reader. In most cases, the theme is not stated directl! "ut must "e inferred. Themes can "e revealed "!3 /a stor!&s title /%e! hrases and statements a"out "ig ideas /the wa!s the characters change and the lessons the! learn a"out life Plot utline .) E*position- the "ac%ground or introductor! information that the reader must have in order to understand the stor!. /) Rising Action- all of the events that ta%e lace leading u to the clima#. 0) 'lima*- it is the turning oint in the stor!, here the stor! is turned in a different direction, toward the conclusion, which is the wraing u of the stor!. 1) Falling Action- the immediate reaction to the clima#. 2) Denouement- the conclusion of the lot, loose ends are tied u. Types o$ 'haracters .) /) 0) 1) 2)
Main or minor Protagonist or antagonist Roun! or Flat Dynamic or Static Stereotypes- Stoc 'haracters
Symbolism - symbol is a erson, a lace, an activit!, or an o"ject that stands for something "e!ond itself. Moo! -is a wa! of thin%ing or a state of mind. It is the feeling that the reader gets when reading something. Tone- is the writer&s stand toward his su"ject or toic.
- writer chooses words, settings, events, characters and language to create a tone or mood. 2oems and stories can have sad, angr!, gloom!, ha! or e#citing mood. The! can also "e light, serious, moc%ing, hilosohic, sarcastic or "antering in tone. Dr the! ma! e#ress a tone of disgust, of condemnation, of admiration, or of detachment, all these are achieved through the writer&s choice of words. or e#amle, if a writer wants his readers to "e fearful, he ma! use adjectives li%e gloom!, hideous, afraid and tearful. 1e ma! choose a grave!ard setting, sinister character, storm! weather, violent events and a moonless night to hel create the mood of fear.
In 2hiliine literature we find literar! wor%s which reveal to us that the iliino has a assion for the good, the true and the "eautiful. In 2hiliine oetr! a"out nature, love and virtue we gain insight into the essence of "eaut! as God&s gifts. The rose wor%s a"out the jo!s in life sharen our sense of what is worth living for.
