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21stCenturyLiterature12 Q1 Mod1 Philippine Literary History Ver3
21stCenturyLiterature12 Q1 Mod1 Philippine Literary History Ver3
st
NOT
21 Century
Literature from
the Philippines
and the World
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Management Team
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21 Century
Literature from
the Philippines
and the World
Quarter 1 - Module 1
Philippine Literary History
What I Know.................................................................................................................................................iii
Lesson 1 Week 1:
Philippine Literature in Pre-Colonial Period
What I Need To Know -------------------------------------------------------------------1
What’s In-------------------------------------------------------------------------------------1
What’s New.......................................................................................................................2
What Is It............................................................................................................................3
What’s More......................................................................................................................4-5
What I Have Learned.....................................................................................................6
What I Can Do..................................................................................................................6
Lesson 2 Week 2:
Philippine Literature in Spanish Period ...........................................................
What’s In............................................................................................................................8
What I Need to Know.....................................................................................................8
What’s New.....................................................................................................................9
What Is It..........................................................................................................................9-10
....... What’s More……………………………………………………………………11-14
What I Have Learned--------------------------------------------------------------------14
What I Can Do...............................................................................................................15
Lesson 3 Week 3:
Philippine Literature in American Period .....................................................
What’s In-------------------------------------------------------------------------------------------16
What I Need to Know--------------------------------------------------------------------------16
What’s New.....................................................................................................................17
What Is It..........................................................................................................................17
....... What’s More………………………………………………………………..18-25
What I Have Learned---------------------------------------------------------------------26
What I Can Do--.............................................................................................................26
Lesson 4 Week 4:
Philippine Literature in Japanese Period .....................................................
What’s In--------------------------------------------------------------------------------------------28
What I Need to Know-------------------------------------------------------------------28
What’s New......................................................................................................................29
What Is It..........................................................................................................................29
What’s More....................................................................................................................30
What I Have Learned---------------------------------------------------------------------31
What I Can Do...............................................................................................................31
Lesson 5 Week 5:
Literature in the Late 20th Century ..............................
What’s In............................................................................................................................34
What I Need to Know.....................................................................................................34
What’s New.....................................................................................................................35-39
What Is It..........................................................................................................................39-40
What’s More....................................................................................................................40
What I Have Learned----------------------------------------------------------------------41
What I Can Do...............................................................................................................41-42
Lesson 6 Week 6:
Various 21st Century Literature Genres .............................................................
What’s In............................................................................................................................43
What I Need to Know.....................................................................................................43
What’s New.....................................................................................................................44-47
What Is It..........................................................................................................................48-49
What’s More 50-51
What I Have Learned--------------------------------------------------------------------52
What I Can Do...............................................................................................................53
Summary......................................................................................................................................................68
Assessment: (Post-Test).........................................................................................................................69-73
Key to Answers..........................................................................................................................................74-76
References..................................................................................................................................................77-79
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What This Module is About
Hello Learners! Let us now have our Module 1 for this subject. You are going to read
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and learn 21 Century literature from the region where our school is based in relation to the
literature of other regions in various genres and forms in consideration of the various
dimensions of Philippine literary history from pre-colonial to contemporary.
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Lesson 6. 21 Century Philippine Literature
In this module, you are going to write a close analysis and critical interpretation
of literary texts and doing an adaptation of these which require you the ability to:
a. Identify the geographic, linguistic, and ethnic dimensions of Philippine literary history
from pre-colonial to the contemporary.
b. Identify representative texts and authors from each region (e.g. engage in oral history
research with focus on key personalities from the students’ region/provinces.
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c. Compare and contrast the various 21 century literary genres and the ones from the
earlier genres/periods citing their elements, structures and traditions.
d. Discuss how different contexts enhance the text’s meaning and enrich the reader’s
understanding,
e. Produce a creative representation of a literary text by applying multi-media and ICT
skills,
f. Do self-and/or peer assessment of the creative adaptation of a literary text, based on
rationalized criteria, prior to presentation,
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How to Learn from this Module
To achieve the objectives cited above, you are to do the following:
• Take your time reading the lessons carefully.
• Follow the directions and/or instructions in the activities and exercises
diligently.
• Answer all the given tests and exercises.
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What I Know
1. Which of the following deals with ideas, thoughts, and emotions of man. It
is said to be the story of man?
a. literature b. history c. generation d. tragedy
2. Which deals with the life of a person which may be about himself, his
autobiography or that of others?
a. interview b. biography c. anecdote d. play
3. Which lyric poem has 14 lines dealing with an emotions, a feeling, or idea?
a. ballad b. sonnet c. psalm d. awit
4. Which is an example of Corridos (Kuridos)?
a. Florante at Laura b. Ibong Adarna c. The Lover’s Death d. Chit-Chirit-Chit
5. Which lyrical poetry refers to a noble feeling expressed with dignity, with
no definite number of syllables or definite lines in a stanza?
a. ode b. folksongs c. psalm d. elegy
6. Which Latin word of “literature” is derived?
a. literus b. litera c. literature d. literia
7. Which is written by Carlos Bulosan?
a. Without Seeing the Dawn c. The Laughter of My Father
b. El Filibusterismo d. Thirteen Plays
8. “The Moth and the Lamp” is an example of which genre?
a. anecdote b. essay c. biography d. oration
9. Who is the prince of Philippine Literature?
a. Francisco Balagtas c. Ricaredo Dementillo
b. Francisco Baltazar d. Wilfredo M. Guerrero
10. An example of a Bikolano folksong.
a. Pamulinawen c. Manang Biday
b. Inday, Inday sa balitaw d. Sarong banggui
https://www.slideshare.net/emral8/g12-21st-century-literature-diagnostic-test
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Lesson Philippine Literature
1 in Pre-Colonial Period
Grade 12, First Semester, Q1 – Week 1
What I Know
Activity 1. Have you heard the following selections below? Try identifying their
literary forms.
1. Folktales about Juan are very popular. Some emphasize certain virtues, and
some serve as warning about behavior. _______
2. “Biag ni Lam-ang” is an Ilocano epic that tells about the adventures of Lam-ang,
a man with supernatural powers. _______
3. The monkey is a common animal character in Philippine fables. It is often
depicted as a tricky animal. ________
4. There are different Filipino legends of the great flood. The story of Bukidnon tells
that a huge crab caused the water to rise by going into the sea. _______
5. There are Philippine versions of the creation myth. The Igorot’s story tells that
Lumawig the Great Spirit created people. ________
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What’s New
Have you identified them correctly? These are typical examples of the pre-
colonial literary works.
2
What Is It
To this day, the literary genre of the riddle in pre-colonial times has endured. It
has many names and forms: bugtong in Tagalog, paktakon in Ilongo, patototdon in
Bicol, and buburtia in Ilocano. Riddles relied on talinghaga or metaphor. It is a
guessing game of objects represented by other objects (Simoun Victor D. Redoblado,
Brilliant Creations Publishing, Inc., 2017:2-3).
Here is an example:
Buto’t balat, lumilipad (Saranggola)
Skin and bone flying,(Kite)
Proverbs are statement of a particular culture’s codes of behavior and beliefs
and intended to teach values. They are known as kasabihan in Tagalog, panultihon
or pagya among the Cebuano, kasebian among the Pampango, and humbaton or
hurobaton among the Ilonggo. In Panay it was called daragiton or daraida, and
basahanan in Bukidnon. (Simoun Victor D. Redoblado, Brilliant Creations Publishing, Inc.,
2017:3). Here is an example:
(Tagalog)
Bahay man ay palsyo It is better to have a hut
Kung ang laman ay kuwago inhabited by a person
Mabuti pa ang kubong than a mansion
Laman ay tao. Wherein an owl lives.
Epics were the most prominent literary genre of the pre-colonial period. It
featured local heroes taking on (and, indeed succeeding in) various adventures.
Across the country, each tribe has at least one epic, along with five or six minor
epics. It was called darangen in Maranao, ulahingan in Manobo, guman in Subanon,
and hudhud in Ifugao.
Popular examples are Biag ni Lam-ang from the Ilocanos, the Ibaloy epic
Kabunlan and Bendian, the Tagalog epic Kumintang, the Palawan epic Kudaman,
the Panay-Bisaya epic Maragtas at Hinilawod, the Manobo epic Tuwaang Midsakop,
the Negros Bisaya epic Hari sa Bukit, the Mindanao epic Darangen, the Muslim epic
Bantugan, and the Ifugao epic Hudhud at Alim.
Myths, legends, and fables are short forms of fiction. Myths served to explain
how the world was created. Legends explained the origin of things while fables
were meant to teach lessons.
Aside from short fiction and epics, our country’s pre-colonial literature also
abounded in songs. There love songs, courtship songs, serenades and lullabies.
Lullabies were songs to put infants to sleep.
As children grew, they continued to have songs tailored to their imagination and
playtime. Other songs were intended for activities shared by the members of the
community. Like a song for rowing, for pounding rice, for making pots and for hunting
bees. There were even songs for drinking (Simoun Victor D. Redoblado, Brilliant Creations
Publishing, Inc., 2017:4-6).
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What’s More
You have just learned the different genres in the pre-colonial period.
Now, let us dwell on the common myths about how the world was created. Read the
following selections to appreciate how different points of view-one from Luzon, one
from Mindanao-pictured the world’s creation(Simoun Victor D. Redoblado, Brilliant
Creations Publishing, Inc., 2017:8-11).
In the very beginning there lived a being so large that he cannot be compared
with any known thing. His name was Melu, and when he sat on the clouds, which
were his home, he occupied all the space above. His teeth were pure gold, and
because he was very cleanly and continually rubbed himself with his hands, his skin
became pure white. The dead skin which he rubbed off his body was placed on one
side in a pile, and by and by this pile became so large that he was annoyed and set
himself to consider what he could do with it.
Finally Melu decided to make the earth; so he worked very hard in putting the
dead skin into shape, and when it was finished he was so pleased with it that he
determined to make two beings like himself, though smaller, to live on it.
Taking the remnants of the material left after making the earth he fashioned
two men, but just as they were all finished except their noses, Tau Tana from below
the earth appeared and wanted to help him.
Melu did not wish any assistance, and a great argument ensued. Tau Tana
finally won his point and made the noses which he placed on the people upside
down. When all was finished, Melu and Tau Tana whipped the forms until they
moved. Then Melu went to his home above the clouds, and Tau Tana returned to his
place below the earth.
All went well until one day a great rain came, and the people on the earth
nearly drowned from the water which ran off their heads into their noses. Melu, from
his place on the clouds, saw their danger, and he came quickly to earth and saved
their lives by turning their noses the other side up.
The people were very grateful to him, and promised to do anything he should ask
of them. Before he left for the sky, they told him that they were very unhappy living on
the great earth all alone, so he told them to save all the hair from their heads and the dry
skin from their bodies and the next time he came he would make them some
companions. And in this way there came to be a great many people on the earth.
Source: Mabel Cook Cole, Philippine Folk Tales (Chicago: A. C. McClurg and Company, 1916:139-140).
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Read another story on creation. This was still made during pre-colonial period.
When the world first began there was no land, but only the sea and the sky,
and between them was a kite (a bird something like a hawk). One day the bird which
had nowhere to light grew tired of flying about, so she stirred up the sea until it threw
its waters against the sky. The sky, in order to restrain the sea, showered upon it
many islands until it could no longer rise, but ran back and forth. Then the sky
ordered the kite to light on one of the islands to build her nest, and to leave the sea
and the sky in peace.
Now at this time the land breeze and the sea breeze were married, and they
had a child which was a bamboo. One day when this bamboo was floating about on
the water, it struck the feet of the kite which was on the beach. The bird, angry that
anything should strike it, pecked at the bamboo, and out of one section came a man
and from the other a woman.
Then the earthquake called on all the birds and fish to see what should be
done with these two, and it was decided that they should marry. Many children were
born to the couple, and from them came all the different races of people.
After a while the parents grew very tired of having so many idle and useless
children around, and they wished to be rid of them, but they knew of no place to
send them to. Time went on and the children became so numerous that the parents
enjoyed no peace. One day, in desperation, the father seized a stick and began
beating them on all sides.
This so frightened the children that they fled in different directions, seeking
hidden rooms in the house -- some concealed themselves in the walls, some ran
outside, while others hid in the fireplace, and several fled to the sea.
Now it happened that those who went into the hidden rooms of the house later
became the chiefs of the islands; and those who concealed themselves in the walls
became slaves. Those who ran outside were free men; and those who hid in the
fireplace became negroes; while those who fled to the sea were gone many years,
and when their children came back they were the white people.
Source: Mabel Cook Cole, Philippine Folk Tales (Chicago: A. C. McClurg and
Company, 1916:187-188).
Process Questions
1. How do you compare the origin of the two stories? Which elements do they
share, and what differences do they have in explaining how the world came to
be?
2. Which creation story is espoused by your religion? How do you compare that
particular origin story to these two folk narratives?
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3. Which aspects of the two cultures could have influenced the stories? Based
on the details of the two creation stories, what can we conclude about the
two cultures that came up with them?
4. Is there such a thing as a “correct” version of how the world was created?
What can we learn about diversity from the creation stories that we have?
Activity 5. Compare and contrast how your time and the early Filipinos
viewed God as reflected in the myth you have read and the
belief you have now through a Venn Diagram.
A C B
What I Can Do
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Rubrics for a Story Writing:
CATEGORY 4 3 2 1
Audience/Purpose Presents details Presents details Presents few Supports no
targeted at a suited to an details suited to purpose; is not
unique audience; audience; an audience; written for a
successfully narrates the some ides specific audience
narrates the events of a story conflict with
events of a story narration of story
Plot (x2) Presents events Presents Presents a Presents no
that create a sequence of confusing logical order
clear narrative events sequence of
events
Characters (x2) Successfully goes Goes in-depth Includes some Does not go in
in depth with with description; description; depth with
description; covers all aspects covers some description; does
clearly covers all of character aspects of not cover all
aspects of character aspects of
character character
Point of View (x2) Writes from a Told from a Contains Uses an
consistent point specific point of inconsistent inconsistent
of view view points of view point of view
Dialogue & Contains details Contains details Contains Contains few or
Elaboration (x2) that provide and dialogue that characters and no details to
insight to develop setting; contains develop
character; characters some dialogue characters or
contains setting; no
dialogue that dialogue
reveals provided
characters and
furthers the plot
Grammar Contains no Contains few Contains some Contains many
errors in errors in errors in errors in
grammar, grammar, grammar, grammar,
punctuation and punctuation, and punctuation, and punctuation, and
spelling spelling spelling spelling
Use of Language Uses fresh word Uses interesting Uses clichés and Uses uninspired
choice and tone and fresh word unoriginal word choices
to reveal story’s choices expressions
setting and
character
Page Length Meets required -------------------- --------------------
Does not meet
page length required page
length
Adopted: http://jfmueller.faculty.noctrl.edu/toolbox/examples/cihock10/narrative.pdf [accessed June
12, 2020].
Assessment
Multiple Choice. Choose the best answer. Write the letter of your answer on the
blank before the number.
--------1. What literary genre are the lines below?
Bungbong kung liwanag Bamboo stem during the day
Kung gabi ay dagat. At night, a sea.
What I know
Activity 1. Multiple Choice. Choose the best answer. Write the letter of your
answer on the blank before the number.
What’s In
1. SYMHT _________________________
2. AELFB _________________________
3. E E L D G N_________________________
4. L L L A I E U B_________________________
5. V R P B S O E_________________________
What’s New
Activity 3. Arrange the jumbled letters below to identify some of
the Philippine literatures which were influenced by the
Spanish.
1. O R C R R D O_________________
2. A O Y R R S_________________
3. S N K L I A U O_________________
4. S S W L R A A E _________________
5. P U L D O _________________
What Is It
There were many changes occurred during the Spanish period. The
Spanish have a strong influence on our literature. They introduced the Roman
alphabet. The teaching of the Christian Doctrine became the basis of religious
practices. Many Filipinos embraced the Catholic religion. Our periodicals
gained religious tone. The Spanish language became the literary language. But
they collected and translated our ancient literature to Tagalog. Many grammar
books they have were printed in Filipino.
The Christian Doctrine (Doctrina Cristiana) was the first book printed in
the Philippines in 1593. It was written by Fr. Juan de Placencia and Fr.Domingo
Nieva in Tagalog and Spanish. It contained the Our Father (Pater Noster), Hail
Mary (Ave Maria), Hail Holy Queen (Regina Coeli), The Ten Commandments of
God, the Commandments of the Catholic Church, the Seven Mortal Sins, How to
Confess, and the Catechism.
The Passion is another book printed which is about the life and sufferings
of Jesus Christ that is still read during Lenten season nowadays by devout
Catholics. This book is an example of a narrative poetry.
Religious lyric poems included complimentary verses and meditative verses.
Complimentary verses were intended to attract readers to read a certain book by
giving praises. It served a double purpose: to draw readers and to teach the Spanish
language to the Filipinos. Meditative verses were found in novenas and catechisms.
Examples of meditative verses were Francisco de Salazar’s “Dalit sa Caloualhatian
sa Langit na Cararatnan nang mga Banal” and Pedro Suarez Ossorio’s “Salamat
nang Ualang Hoyang.” Verses in novenas and catechisms tended to be written in the
poetic form dalit, an early form that resembles free verse, in that there is no fixed
rhyme or meter, save for some octosyllabic four-line stanzas.
The Spaniards brought a variety of dramatic forms to enrich Philippine theater.
These forms included sarswela, the sinakulo and the komedya. It is evident that
even in the genre drama, religious themes continued to be dominant. The sinakulo,
for one, dramatized the pasyon, in that it was a live action simulation of Christ’s
passion and death. Even battles between Christian and Muslims-itself an
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longstanding issue-was dramatized in the moro-moro or comdia de capa y
espada(Simoun Victor D. Redoblado, Brilliant Creations Publishing, Inc., 2017:12-14).
Other contributions of the Spanish were: Duplo, it is a poetic joust in
speaking and reasoning. Balagtasan is another poetic joust of skills in debate on
a particular topic or issue. This replaced duplo and is held in honor of Francisco
“Balagtas” Baltazar. Folksongs became widespread in the Philippines. Each
region had its song. It manifests the artistic feelings of the Filipinos. Examples
which are sting sang today are: Leron-Leron Sinta from the Tagalog, and
Dandansoy, a Bisaya song. There was also a Corrido. It is in octosylllabic verse.
Example to this is Ibong Adarana. Awit is another work which is dodecasyllabic.
Florante at Laura of Francisco Balagtas is an example.
It was in this period that our national hero, Dr. Jose Rizal made many
compositions which are still known today. Like the Noli Me Tangere and El
Filibusterismo. His two masterpieces that portrayed the colorful characteristics of
Philippine society. Before he died, he wrote the Mi Ultimo Adios.
Source: Alicia H. Kahayon and Celia A. Zulueta, Philippine Literature: Through the Years,
Cacho Hermanos, Inc., 2010:31-43).
What More
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11
12
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Source: Rodrigo M. Martinez, Philippine’s Literary: GEMS An Anthology, (Mindshapers. Co. Inc,
2016:99-102).
Process Questions
Activity 4. Based on the given preceding excerpt, briefly answer the following
questions:
1. Whose idea was Dr. Rizal responding to? What exactly was the notion held
about Filipinos during Rizal’s time?
2. How did Rizal defend the identity of his countrymen? What arguments,
conditions, and examples did he cite to substantiate his case?
3. Among Rizal’s arguments, which was the most helpful to his defense of
Filipinos? Explain.
4. In your own experience and perspective, how can you prove that the Filipinos
are, in actuality, hardworking? Cite concrete examples to make your case.
Activity 5. Fill in the blanks with the correct literary works during the Spanish
period.
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What I Can Do
Activity 6. Write a reflective essay to prove that Filipinos are one of the most
industrious people in the world. Provide specific examples or instances.
Essay Rubrics:
Adopted: https://catlintucker.com/2018/08/middle-school-writing-rubrics/
Assessment
Multiple Choice. Choose the best answer. Write the letter of your
answer on the blank before the number.
--------4. What did Rizal believe can cure the cause of indolence among Filipinos.
a. revolution b. peace c. education d. slavery
--------5. What was the situation of the Filipinos based on “The Indolence of
Filipinos” essay.
a. They lived lazily in their homes
b. They worked so hard with less pay.
c. They worked but not appreciated.
d. They lived without work.
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What I Know
Activity 1. Multiple Choice. Choose the best answer. Write the letter of your
answer on the blank before the number.
E I A N N S O L O M O B A
I N L A G I N G H A N A D
Z G O I N N G S D U P L O
E E N D L A P L A Y S A B
N L Z A T K A M A N A G O
H E Z L O U M A M I T T A
O I N D O L E N C E P A L
R O S E L O B R I G H S T
W I N N E K O M E D Y A S
E P H R A I M O M M Y N R
A D N I L A S O R C A N E
1. Identify the geographic, linguistic, and ethnic dimensions of Philippine literary history
from pre-colonial to the contemporary ( );
2. Identify representative texts and authors from each region (e.g. engage in oral history
research with focus on key personalities from the students’ region/provinces( );
st
3. Compare and contrast the various 21 century literary genres and the ones from the
earlier genres/periods citing their elements, structures and tradition ( ); and,
4. Discuss how different contexts enhance the text’s meaning and enrich the reader’s
understanding ( ).
16
What’s New
The Filipino Revolutionists won against the Spaniards who colonized for
more than 300 years. On June 12, 1898 the Philippine flag was raised as a
symbol of our independence. Many Filipinos started writing again and the
nationalism of the people remain undaunted.
Activity 3. Guess what are the forms of literature did we have during the
American period by putting a check ( ) beside the word and
x if you think it was not done.
1. Poetry _____
2. Novels _____
3. Essays _____
4. News Reports ______
5. Short Stories ______
What Is It
th
At the dawn of the 20 century, American culture began to establish its form
grip on the Filipino identity. They brought another groundbreaking cultural
milestone: the English language. The Philippine writers appreciated the new styles
and genres of writing that they brought.
From the 1920s onwards, Philippine literature in English began to gain
momentum. The genres of poetry, fiction, drama, and essay saw remarkable growth.
Modernization of poetry took place. It was headed by Jose Garcia Villa in his
“Have Come, Am Here” in two volumes. Then many adopted. Novel was also introduced
in this period. Many vernacular novels were written. The first Philippine novel in English
was Zoilo Galang’s “A Child of Sorrow” which was published in 1921.
Short stories had its start during this period. The “Dead Stars” by Paz
Marquez Benitez in 1925 was the first successful Philippine short story in English.
She mentored other writers that in 1927, a collection of Philippine short stories in
English written by one author was published, Jose Villa Panganiban’s “Stealer of
Hearts”. It is then followed in 1933, “Footnote to Youth” by Jose Garcia Villa.
Drama was also introduced in this period. The three former UP Presidents
had legacies of excellent drama writing. Carlos P. Romulo who became President
of the United Nations General Assembly, wrote “Sons for Sale”, “The Ghost” and
“The Real Leader.” Jorge Bacobo published four plays: Vidal Tan gained fame with
Rizal inspired plays like “The Meeting in the Town Hall” and “Souls in Torment.”
From 1922-1931, nearly 40 plays were produced or published in the country.
These plays echod cries for independence from the American colonizers. The next
10 years were dominated by an all-time great in Philippine Literature: Wilfredo Ma.
Guerrero. A highly prolific writer to whom over 100 plays are credited. Guerrero
helped the Philippine theater scene reached new heights. His masterpieces
included, “Condemned” , “ Women are Extraordinary”, and “Forever”.
Essay genre flourished in this period too. Just as he was the pioneer in
fiction, Zoilo Galang broke new ground with essays as well. In 1921, he published
“Life and Success,” the first Philippine book of essays in English.
Literary criticism also emerged. Manuel A. Viray was among the most
notable critics, aside from being a poet and fictionist himself.
Source: Simoun Victor D. Redoblado, (Brilliant Creations Publishing, Inc., 2017:25-3).
17
What More
He
Let us study the masterpiece of Wilfredo Ma. Guerrero, “Condemned.”
It is a hallmark literary piece considered a legacy of the American influence.
The excerpt below reflects how the Americans helped fortify the Philippine
drama scene.
18
19
20
21
22
23
24
Source: Simoun Victor D. Redoblado, (Brilliant Creations Publishing, Inc., 2017:31-38).
25
Process Questions
Activity 4. Based on the given drama, answer the following questions briefly:
1. What conflicts are confronted by Pablo in this excerpt? Are his internal
struggles more difficult than his clashes with the other characters?
2. How would you describe Pablo’s relationship with the three women in this
excerpt? To whom is the closest?
3. Is Pablo a dynamic character in this excerpt? Does his character
experience significant change by the end of the play? Explain.
4. How would you evaluate Guerrero’s use of the English language in this
play? Can we consider “Condemned” to be a testament of Filipino’s
mastery of the language? Justify your claim by citing details from the
excerpt of the drama.
What I Can Do
Activity 6. State whether you “Agree” or Disagree” to the following
questions by justifying your claim.
1. If you were about to be married to a person who is sentenced to death,
will you still push through the marriage before his/her death? Why?
2. Is it right to blame anybody of the plight/condition you have in the future?
Why?
26
Adopted: https://catlintucker.com/2018/08/middle-school-writing-rubrics/accessedJune 12,2020
Assessment
Multiple Choice. Choose the best answer. Write the letter of your
answer on the blank before the number.
______1. In the story, “Condemned” what qualities did Pablo want for his mother.
a. A mother who would love him.
b. A mother would discipline him.
c. A mother who would not mind him.
d. Both a and b
______2. Pablo grew up with undesirable traits because
a. He has everything he wanted
b. He was tolerated by Tia Chedeng.
c. He lacked his mother’s love.
d. He was very poor.
______3. Cristina wanted to marry Pablo before his death because
a. She has no one to turn to.
b. Pablo’s mother was rich.
c. Pablo has wealth to leave her.
d. She loved Pablo very much.
______4.Whom did Pablo blame his life sentence?
a. The man who attempted to rape Cristina.
b. Cristina who walked alone that night.
c. His mother who left him since 10 years old.
d. Tia Chedeng for always understanding him.
______5.Who has the greatest love for Pablo.
a. His mother Angela.
b. His fiancée Cristina
c. His Aunt Tia Chedeng
d. His priest friend.
______6.Who was condemned in the play, “Condemned”
a. Angela.
b. Cristina
c. Pablo
d. All of the above
27
Lesson
4
Philippine Literature
in Japanese Period
Grade 12, First Semester, Q1 – Week 4
What I Know
_________________1. One of the two newspapers which were not stopped to operate
during the Japanese period.
_________________2. A weekly magazine which was under surveillance until it was
managed by a Japanese.
_________________3. A Japanese who managed the weekly magazine who gave a
break to Filipino literature.
_________________4. A free verse poem in 17 syllables, divided into three lines.
_________________5. A free verse poem on which each line has 17 syllables.
What’s In
We are now in Lesson 4. Previously, we have studied about the
American contributions in Philippine literature. Do you still remember
some of them?
Activity 2. Fill in the squares to form the different genres or composition
our Filipino writers have developed during the American
period.
D
P
C
E
SHORTSTORI ES
Y
L Y
1. Identify the geographic, linguistic, and ethnic dimensions of Philippine literary history
from pre-colonial to the contemporary( );
2. Identify representative texts and authors from each region (e.g. engage in oral history
research with focus on key personalities from the students’ region/provinces( );
st
3. Compare and contrast the various 21 century literary genres and the ones from the
earlier genres/periods citing their elements, structures and traditions( ); and
4. Discuss how different contexts enhance the text’s meaning and enrich the reader’s
understanding( ).
28
What’s new
Activity 3. This time we will study the Philippine literature during the Japanese
Period and its contributions to our literature.
Try to analyze this:
What Is It
In the post- war period, there were vernacular novels that reflected social
and political realities. Literature in Tagalog brought their own touch of modernism.
American influence could be gleaned from the writers’ works that reflected realism.
Vernacular poetry continued to blossom. The strains of modernism were
evident to some ‘writers but produced excellent works. Writers based in the Ateneo
de Manila University, focused on concrete objects rather than the abstract ideas
espoused by the poets of old. We see emphasis on the tangible along with a touch of
modernism.
The modernist movement continued to be dominant in the post –war period,
particularly in the genre of poetry.
Source: Simoun Victor D. Redoblado, (Brilliant Creations Publishing, Inc., 2017:40-
45).
What’s More
Read the poem that follows. Notice the style and blend of images-
a testament to the uniqueness of poetic voices during that literary epoch.
Process Questions:
30
What I Have Learned
Activity 5. Compare and contrast Ilio’s use of the English language with
Guerrero’s handling of English in “Condemned”. As suggested by “Icarus,” to
what extent have our writers embraced the English language during the post-war
period? Rubrics are found on the last page of this lesson.
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What I Can Do
Activity 6. Be a Poet! Get inspired with the poem. Compose a free verse
poem in ten lines, which expresses a specific emotion, too. Rubrics are on the last
page of this lesson.
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31
Rubrics for Comparison and Contrast
4. Conventions
a. The paper shows correct grammar and
usage.
b. The paper follows the rules for
punctuation.
c. The paper includes words that are
spelled correctly
TOTAL
Adopted:https://www.eriesd.org/site/handlers/filedownload.ashx?moduleinstanceid=14837&dat
aid=13730&FileName=5Comparison%20Contrast%20Rubric.pdf [accessed June 12, 2020].
32
Rubrics for the Poem
Adopted: https://www.teacherspayteachers.com/Product/Basic-Poetry-Rubric-3691783
[accessed June 12, 2020].
Assessment
Multiple Choice. Choose the best answer. Write the letter of your
answer on the blank before the number.
What I Know
Activity 1. List down five (5) Filipino foods you love to eat. Describe why
you love those foods. Use the chart below.
Foods Reason/s
1
What’s In
She was, of course, remembering the makeshift stalls that sprout like
mushrooms the week the dawn masses begin. Along the streets leading to the
churches, and especially in the patios-at Las Piňas, under an ancient tree lit by a
galaxy of lanterns-are built lean-tos made from bamboo poles and roofed with old
blankets or coconut leaves, with a dulang in front serving as counter. From them
cooking smells tantalize the churchgoers and render children impatient to get
through mass.
Not only is there puto bumbong made from violet-colored pirutung rice, but
also bibingka, flat and soft and fragrant in banana leaves a mite singed by the
charcoal fire above and below. Sometimes these have a bit of native cheese on them
or a sliver of salted egg-but always they come with freshly grated coconut meat for
sprinkling on the hot, moist and golden cake. With it is served a customary free cup
of hot tea or salabat, ambrosia on a cold morning.
The above simbang gabi fare in the Tagalog provinces is echoed by the other
rice cakes and dishes in other regions at Christmastime. It is asif our forebears,
dependent on rice as staple and base and year-round pampabigat sa tiyan, gratefully
gave it primacy of place in the celebration of native Christmas. Thus, just as breads
mark Christmas for the German, pudding for the Englishman, and cakes like Buche
de Noel and Gateaux des Rois for the Frenchman, so rice cakes signify Christmas
for the Filipino.
35
right in front of the buyer. It comes sizzling out of the pan and is laid on banana leaf-
covered tables to cool.
"They were hot!" remembered the late Enriqueta David Perez (author of the
excellent, long-running cookbook Recipes of the Philippines)." Yet one could hardly
wait to pick them up. So I would take two pieces of puto and use them to pick up my
panara.The puto would take two pieces of puto and use them to pick up my panara,
The puto would also serve to absorb some of the oil. The combination was perfect:
the hot, peppery panara, the soft white puto and a little grated coconut making juice
on the tongue. And the tea with pandan and no sugar- hot and fragrant."
Cebuanos, novelist Lina Espina Moor recounted, call the predawn breakfast
painit (since it literally warms one up). It traditionally features hot, sticky chocolate,
potomaya (malagkit cooked with coconut milk), suman bodbod (sweetened malagkit
cooked in coconut leaves), biko (sweetened malagkit molded on a plate) and bibingka.
Sanirose Singson Orbeta, born and bred in Vigan, remembers that an important
part of her Christmas was the preparation of tinubong, also from rice. A half-cooked puto
mixture would be poured into a long bamboo tubes and left to cook on coals while the
whole town went off to midnight mass. When they returned, the coals would be dying
down, the bamboo charred and the tinubong cooked. The long tubes were then cut and
distributed among the family. The lazy (to cook) could buy them at stores in 10-centavo
(pre-1950s prices), 20-centavo and even 50-centavo (for the greedy) lengths. For
Sanirose the sound that brings back Vigan media noches is the cracking of hot, charred
bamboo tubes in hands eager to get at the food of Christmas.
In Laoag, Ilocos Norte, on the other hand, the traditional delicacy is tupig.
Writer Benjamin Pascual, in a piece written for the old Sunday Times Magazine,
remembers that the whole town would prepare it "or risk the wrath of the children."
Preparations would start before daybreak on December 24, and children would wake
up to the sound of the townswomen pulverizing the malagkit : "the rhythmic thuds of
thousands of wooden pestles against thousands of mortars in the town became one
huge throb of gaiety... we youngsters sat on our haunches to watch the alternately
bobbing women. Our purring cats made warm cushions on our laps."*
This variety of puto was flavored with molasses, which had been stored in
cans long before the holiday season. 'When the can was not closed tight, lizards
burglarized it and feasted and then drowned on sweetness.. The upper layer of
molasses thus had to be scooped off, and this task fell to us children. For all the
exertions of plunging a crowbar into the asphalt-tough molasses, we enjoyed the
work because we were free to sample the sweet..."
The next step was the grating of coconut to be mixed with the dough, and
here again the children involved themselves, "riding" the coconut graters carved from
tree trunks and shaped like horses, dogs or even alligators. The coconut-mixed
dough was next wrapped in layers of dark green, mature banana leaves, and cooked
by burying them in a huge mound of burning rice chaff, a community oven for several
neighbors. "The virtue of rice chaff is that it does not burst into flames, but smolders
in a leisurely way," such that the tupig bakes unhurriedly and evenly as in an oven.
Besides the tupig, a Laoag media noche would include patupat or tinapet,
also rice delicacies, this time wrapped in pyramidal fashion in the young, lemon-
yellow shoots of the banana plant. (In other towns coconut fronds are used).
36
Many other varieties of puto, suman and bibingka exist around the islands,
among them putong puti, which in its modern version uses baking powder; putong
pula, sweet with brown sugar; kutsinta colored with lye; rich suman with a thick
topping of latik; kutsinta colored with lye; rich suman with a thick topping of latik;
"poverty" suman with but a hint of coconut milk and sugar; suman to be rolled in
sugar, or dipped in coconut, or fried, or rolled in leaves, or folded in leaves, or sliced.
And of course there are all the other kakanin for which each region, even each town,
has its own names and its own Christmas memories.
Although this plethora of rice cakes forms the basis of our Christmas fare,
other dishes drawn from the Chinese, Spanish and American influences on our food
culture have become traditional too- to families, to regions. This is because the
centrality and grandeur of the feast make it imperative to have something special,
and "special" is determined both by the culture and by the individual taste. An
informant from a poor Sorsogon barrio told us, for example, that her family ate fish all
year round and had pork adobo once in the year, for the media noche. The next
days, it was "isda na naman".
“Special” for many are the Spanish dishes that have become traditional fiesta
fare. For Enriquetta Guerrero clan, it was cocido. “Oh, I hardly wait for the Mass to
be over,” she told us in that long-ago interview, “so that we could have the cocido. It
was the usual old-fashioned recipe, with jamon China, chorizo de Bilbao,morcilla,
beef kenchi with marrow bone, chicken, pork, cabbage, pechay, carrots, potatoes,
onion, tomato sauce and a thick broth- and served with eggplant sauce.”
Leni Guerrero of the Ermita Guerrero clan, whose French mother added richly
to their Christmas traditions, remembers their customary galantine and relleno, the
latter a fat capon stuffed with an assortment of riches, including, in the old days, foie
gras, truffles, ground pork, olives, imported pork sausages, Spanish sausages, and
such other luxuries. A Pampanga family known for its cooking liked fat nilagang
manok for its media noche, the chicken especially fattened and readied for the feast.
A Nueva Ecija family had pesang manok; one Negros family always had lechon
stuffed with tanglad. How central lechon can be to many a family feast is shown by
the near-riot at ELAR lechon office when the machine turning over the rows of lechon
spits broke down. The pigs had to be roasted in Montalban and were delayed and
hundreds crowded the office on Christmas Eve clamoring for their festal lechon, or
for their regales for compadres, ninongs and relatives.
37
wine, beer, pineapple juice and fragrant spices-notably cloves-with a crisp, shiny
sugar glaze seared in by a hot sianse. Local and homemade hams now fill in for the
imported type, but most Filipinos of medium and high income levels cannot think of
Christmas even now without remembering rosy red slices of ham, with their
translucent strips of fat topped by a thick and delicious sugar layer.
Besides these, there were usually acharas of all kinds, sweetly pickled young
papayas and other vegetables cut into flowers, stars, (and/or) butterflies. And
wilderness of desserts: more suman of various persuasions; quivering leche flan
fragrant with dayap, macapuno en dulce in pale, translucent strands; santol strands;
santol preserves with that sweet sourness that the Filipino palate cannot resist;
preserved citrus fruit peel; pastillas in wrappers with cutout designs and mottoes like
"Recuerdo" and glass jars, thickly and sweetly purple; and whatever other specialties
mothers, aunts and grandmothers- all of them long on time and patience-were
known for.
There were, further, imported delicacies that used to appear only at Christmas
time: fragrant apples and Mandarin oranges; walnuts, pecans and Brazil nuts; brown,
sticky castañas; bunches of grapes fresh from their sawdust; and turrones de jijona
and turrones de alicante. The turrones came from Spain in flat, round tins or in
wooden boxes that were a ritual to open. They were so hard that they had to be
hacked on a wooden cutting board with a very dull knife and were given out in thin
slivers and slices, hard enough to break one's teeth. But they were delicious, a
mixture of honey and almonds covered with a paper-thin wafer like a communion
hostia, seemingly made for Christmas and for no other season. All the above are still
available, but at astronomical prices, making them part of the Christmas only of the
nostalgic elite, and not of the majority.
Writer and gourmet E. Aguilar Cruz believes that the media noche is the most
important part of the urban Filipino's Christmas, but that for the rural Filipino it is the
Christmas Day breakfast and luncheon. Christmas Day used to be the time to visit
relatives and godparents, to give the ritual greetings (kiss on the hand, or hand on
the forehead), and receive gifts of money, sweets, toys, or religious objects.
This was the day the dulces de Magalang would appear, Abe Cruz remembers-
those many-splendored sweets from Magalang, Pampanga. It was also the day aunts
38
and mothers trotted out the Brazo de la Reina, a meringue roll with a syrupy egg yolk
and butter filling; tocino del cielo, tiny and wickedly rich caramel custards in miniature
cups; meringue sweets that were chewy inside and crisp outside and "wrapped in
paper, " my father remembered,"only at Christmas time." The Ilocos homes might
have instead abrillantados, crystallized colored coconut candy rolled in fine white
sugar.Other regions or families had kalamay, or pinipig pudding, or yemas.
The Christmas noonday meal, which may be taken with immediate family or
with one's grandparents, or with the oldest of the clan, depending on familial custom,
differs widely in different regions. It might be pinapaitan in Abra (a peppery dish of
goat variety meats); embutido or morcon in a Manila household; bam-i in a Cebuano
home (chicken, pork, dried shrimp, mushrooms and two kinds of noodle; legend has
it that only a Cebuano can cook it properly); pancit Molo in an Ilongo family;
sincuchar (beef variety meats) or kilawin of goat meat in an Ilocano homes. In a poor
household, it is whatever the budget could make available- the long-kept chicken,
rarely seen pork, or the fish and rice of everyday. For the affluent, it is very often
lechon. In urban homes,it is often American roast turkey or baked ham, German
ginger-bread and almond stollen, French Buche de Noel.
Conclusion
The Filipino Christmas has adapted much from the foreign cultures that history
has introduced into our lives. Just as Christmas cards and trees have joined the belen,
villancicos like "Vamos Pastores" and the misa de gallo; just as blinking Christmas lights
surround the star-shapped bamboo parol; so have turkey, cheese cake and rum
puddings joined the native and Spanish dishes on the media noche table.
But, although our Christmases have Spanish and other foreign flavors, basic
to it are the puto bumbong, bibingka and salabat in church courtyards, the suman
and kutsinta at the family reunions, the taste of rice and of home, of which our
Christmas memories are made.
http://walking-writer.blogspot.com/2011/12/essay-puto-bumbong-bibingka-salabat.html
What is It
Activity 2. Based on the essay you have read, answer the following questions
succinctly:
1. What particular season does the essay focus on? Have you tried any of the
seasonal foods mentioned in the essay? If so, which ones?
___________________________________________________________________
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39
2. Describe the author’s style of writing. What techniques make her portrayal of food
effective?
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
______________________________________________________________
3. Name other occasions in our country that also feature a seasonal set of food.
Why do you think Filipinos favor specific food for specific seasons?
______________________________________________________________
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______________________________________________________________
______________________________________________________________
______________________________________________________________
What’s More
Begin Here:
Comment 1 Comment 2
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40
What I Have Learned
What I Can Do
Mother
Brother
Sister
Others
41
Assessment
Based on the story Puto-Bumbong, Bibingka, Salabat, atbp: The
Filipino Christmas Table, make a collage using the following rubrics.
Begin Here:
42
Lesson
Various 21st Century
Literature Genres
6
Grade 12, First Semester, Q1 – Week 6
What I Know
Activity 1. Give two proverbs or salawikain that you may have heard
from your elders. Then extract the lessons which influences
our existence today.
Proverbs Lessons
__________________________ ____________________________________________
__________________________ ____________________________________________
__________________________ ____________________________________________
__________________________ __________________________________________
________________________
__________________________ ____________________________________________
__________________________ ____________________________________________
__________________________ ____________________________________________
__________________________ __________________________________________
________________________
43
What’s In
What’s New
Once upon a time when the earth was but a shapeless, formless void
appeared the god called Tungkung Langit (“Pillar of Heaven”) and the virgin goddess
of the eastern skies, Alunsina (“The Unmarried One”).
The old Visayan folklore states that Tungkung Langit fell in love with Alunsina.
After he had courted her for many years, they married and made their home in the
highest part of heaven. There the water was always warm and the breeze was
forever cool, not a bad weather was in sight, and the couple was happy. In this place
in the heavens, order and regularity began.
Alunsina resented this reproach, and they quarreled all day. In his anger,
Tungkung Langit drove his wife away. And with that, Alunsina suddenly disappeared,
without a word or a trace to where she went. A few days passed, Tungkung Langit felt
very lonely and longed for his wife. He realized that he should not have lost his temper.
But it was too late, Alunsina is gone. Their home which was once vibrant with Alunsina's
sweet voice, his home became cold and desolate. In the morning when he
44
woke up, he would find himself alone. In the afternoon when he came home, he
would feel loneliness creeping deep within him.
For months Tungkung Langit lived in utter desolation. Try as he did he could
not find Alunsina. And so in his desperation, he decided to do something to forget his
sorrow and win back his wife’s favor. So he came down to earth and planted trees
and flowers that she may notice it, but she still didn’t come home. Then in
desperation, he took his wife's jewels and scattered them in the sky. He hoped that
when Alunsina should see them she might be induced to return home.
Alunsina's necklace became the stars, her comb the moon, and her crown the
sun. But in spite of all his efforts, Alunsina did not return home. Until now, as the
story goes, Tungkung Langit lives alone in his palace in the skies and sometimes, he
would cry out for Alunsina and his tears would fall down upon the earth as rain and
his loud voice, calling out for his wife, was believed to be the thunder during storms,
begging for her to come back to their heavenly palace once more.
Source: http://vizayanmyths.blogspot.com/2013/05/creation-myth-variant-1.htmls
9 Then God commanded, “Let the water below the sky come together in
10
one place, so that the land will appear”—and it was done. He named the land
“Earth,” and the water which had come together he named “Sea.” And God was
11
pleased with what he saw. Then he commanded, “Let the earth produce all kinds
12
of plants, those that bear grain and those that bear fruit”—and it was done. So the
13
earth produced all kinds of plants, and God was pleased with what he saw.
Evening passed and morning came—that was the third day.
14 Then God commanded, “Let lights appear in the sky to separate day from night
[c] 15
and to show the time when days, years, and religious festivals begin; they will shine in
16
the sky to give light to the earth”—and it was done. So God made the two larger lights, the
17
sun to rule over the day and the moon to rule over the night; he also made the stars. He
18
placed the lights in the sky to shine on the earth, to rule
45
over the day and the night, and to separate light from darkness. And God was pleased
19
with what he saw. Evening passed and morning came—that was the fourth day.
20 Then God commanded, “Let the water be filled with many kinds of living
21
beings, and let the air be filled with birds.” So God created the great sea monsters, all
kinds of creatures that live in the water, and all kinds of birds. And God was pleased with
22
what he saw. He blessed them all and told the creatures that live in the water to
23
reproduce and to fill the sea, and he told the birds to increase in number. Evening passed
and morning came—that was the fifth day.
24 Then God commanded, “Let the earth produce all kinds of animal life:
25
domestic and wild, large and small”—and it was done. So God made them all, and he was
pleased with what he saw.
26 Then God said, “And now we will make human beings; they will be like us and
resemble us. They will have power over the fish, the birds, and all animals, domestic and
[d] 27
wild, large and small.” So God created human beings, making them to be like himself.
28
He created them male and female, blessed them, and said, “Have many children, so that
your descendants will live all over the earth and bring it under their control. I am putting you
29
in charge of the fish, the birds, and all the wild animals. I have provided all kinds of grain
30
and all kinds of fruit for you to eat; but for all the wild animals and for all the birds I have
31
provided grass and leafy plants for food”—and it was done. God looked at everything he
had made, and he was very pleased. Evening passed and morning came—that was the sixth
day..
Source: https://www.biblegateway.com/passage/?search=Genesis+1&version=GNT
Typhoons
(an except)
by Rio Alma (translated by Marne Kilates)
46
We shut our eyes
At the final rumbling rape
Of our prostrate crops, the helpless land.
Tightly we shut our eyes,
Tightly, ever tightly…
Only to wonder in the morning
What power of sun expunged
And expelled these armies of the night.
Source: https://wordsmadeflesh.wordpress.com/tag/rio-alma/
Coñotations
by Paolo Manalo
3. Except he’s not who he says he is, pare. He’s a sneeze with Chinese blood:
Ha Ching!
4. Naman, it’s like our Tagalog accent, so they won’t think we’re all airs; so much
weight it means nothing naman.
5. Dude, man, pare, at the next stop we’ll make buwelta. So they can see
we know how to look where we came from.
6. It’s hirap kaya to find a connection. Who ba’s puwede to be our guide?
8. Make it pabalot kaya in the mall. So they can’t guess what you’re thinking.
That’s what I call a package deal.
10. Only kolehiyalas make tusok the fishballs. Us guys, dude, pare, we
make them tuhog.
11. Talaga, she said she’d sleep with you? Naman pare, when she says talaga, it
means she’s lying.
https://aquarius129.wordpress.com/2009/03/08/conotations-a-poem-by-paolo-manalo/
4
What is It
2. Characters
5. Conflict/s
6. Result/s
48
What’s More
Similarities Differences
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_____________________________ _____________________________
2. What are the similarities and differences in the creation of the universe in
both stories?
Creation of the Universe
Similarities Differences
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Similarities Similarities
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49
What I Have Learned
2. And whiplash of wet, demented monsters: Turning wildly they tore every roof
What is being personified? - _____________________
What human trait or quality is given? - _____________________
5. What power of sun expunged and expelled these armies of the night
What is being personified? - _____________________
What human trait or quality is given? - _____________________
_________________________________________________________________
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50
4. Is there a story that you can derive from the poem?
_________________________________________________________________
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___________________________________________________________________
7. Have you tried using the same language while talking to friends or other
family members?
_________________________________________________________________
___________________________________________________________________
___________________________________________________________________
8. Do you easily understand the meaning of the lines in the poem based on the
language used?
_________________________________________________________________
___________________________________________________________________
___________________________________________________________________
9. Who do you think are the types of individuals using such language?
_________________________________________________________________
___________________________________________________________________
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51
What I Can Do
Activity 6. Complete the statement below in the “Leaning Map “LMs”,” Write your
b b answer on the space provided.
1
Title Leaning
__________________________________ __________________________________
_______________________________ __________________________________
__________________________________
__________________________________
__________________________________
__________________________________
__________________________________
__________________________________
______________________________
2 Leaning
__________________________________
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__________________________________
Title __________________________________
__________________________________ __________________________________
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__________________________________
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52
Assessment
. Read the text on “Textula” below and answer the questions that follow.
The term "textula" is a blend of the English word "text" and
the Filipino word "tula! ' Meaning, it is a poem written in the
form of a text message. Usually consisting of one or two
stanzas, it is a form of direct communication to a person
close to the sender.
Textula
1. Ayy! Napana ang Tigre
Ang dilaw naging
verde Di-El-Es-Yu-Yu-
Es-Ti
Mga Ten gang nagwagi.
Begin Here:
1. What is the text tula about?
______________________________________________________________
______________________________________________________________
2. Is it similar to the traditional poems that you have read before? In what way is
it similar or different?
______________________________________________________________
______________________________________________________________
4. How about the verse, do they have a similar number of syllables per line?
______________________________________________________________
______________________________________________________________
5. What are possible venues of social media where we can use text tula?
53
Lesson 7
Philippine Literature
in Pre-Colonial Period
Grade 12, First Semester, Q1 – Week 7
What I Know
Activity 1. Read and analyze the questions below. Write your answers
in the space found in the table.
st
How would you compare 21 century genres (such as Tweets and SMS
st
Fiction) with traditional forms of literature? What makes these 21
century literature texts unique?
th st
20 Century Literature 21 Century Literature
54
What’s In
What’s New
What is It
Everything starts in October 4, Cristina and her friends, Preachy Legasto and
Fe Mangahas, were traveling together to attend a conference in New York City. That
was Cristina’s first trip to US after 9/11 security check were tighter and the lines were
miles long.
55
What happen on 9/11? The innocent dies, heroes truly tried, and the masses
cried. Cristina wanted to go to Ground Zeroformerly known ad “world trade center”,
she wanted to see 9/11changed America or New York City. SO she went to ground
zero, there are images of the incredible collapse of those towers, played so often on
international TV that they had become indelibly imprinted on the imagination. BBC
anchor, saying “And now we return to New York and its Broken Heart” GroundZero
The nation and the world still REMEMBER. Seeing how the world change
after 9/11 isn’t what hurts, what hurts is remembering how it used to be.
The backpack sat on the curbside. The surface was flaking, the purple print
scratched. We found it in the afternoon, beside three corpses in body bags. The men
working along the highway said that the bodies had just been recovered. They said
there was a baby in the backpack.
It was cold that day. The air smelled of dead. I remember crouching beside
the bag and hunting for the zipper, remember thinking I had to verify the story,
remember feeling uneasy. It was a morbid act, like opening a stranger’s closed
coffin. Maybe it was a convenient excuse, an odd conservatism in a city where the
dead had been shoved into plastic garbage bags. I didn’t open the bag, ran my
hands over it instead, tracing the lumps of head and hands and folded knees.
It was 15 days since the storm, and there was a corpse inside the backpack.
I write this late at night, in Manila, almost three months after typhoon Haiyan.
It is difficult to write. I meant to write something else, have been trying to write
something else for a week, an analysis of post-disaster vulnerabilities and
government mishandling. I did the interviews, read the documents, watched the
congressional hearings and the resulting glad-handing and politicking that came with
it: the secretary of the interior smiling, the mayor of the broken city smiling back, the
men and women in the background smiling along, all of them grinning as if they were
not witness to weeks of calling each other liars and frauds.
Instead I’m writing about how it was, on the ground, the apocalypse that all of
us found when we landed on the Tacloban tarmac. I seem to be unable to write
about anything else. I’ve been a columnist for ten years, a reporter for the last five.
My beat is disaster and human rights and the stories that fall in between – the dead,
the lost, the rebels and the survivors. Nothing I’ve seen prepared me for what I saw
after Haiyan.
I don’t claim to be a veteran. What I’ve seen is nothing to what many others
have seen, and my version of reportage is very often limited to individual human
56
experience instead of the larger implications. I fixate on images, sentences, narrative
arcs, the smoke in the sky, the blood on the doorknob, the bottle of White Flower
carried by the defendant, the color and pattern of the tiles on the floor of Quezon City
Regional Trial Court Branch 221 instead of the decision handed down by the trial
court judge. For me, Haiyan was the rainbow blanket around the dead boy. It was
the father who covered his drowned daughter’s corpse with a tin roof to protect her
from the rain. It was the man who walked daily to his girlfriend’s grave, the plastic
panda floating in the water, the baby in the purple backpack.
There were many other stories. Government ineptitude. Political infighting. The
scale of displacement and the terrible conditions forced on the survivors. I admit I went
looking for the dead, an easy thing in Haiyan country. My reasoning is the same as it's
always been – in a situation where morals are suspended and the narrative makes no
sense, it is necessary to hold whatever truth is left: that the dead shouldn't be dead.
Maybe there is some ego involved here, the awareness that the sights and smells
and sounds that will force the average person to turn away is something that can be
handled without flinching, safe under the cloak of public interest. It is necessary to
pretend those of us who report are tougher than everyone else. It is necessary, very
often, to pretend this is a job, a commitment, a challenge met that separates us from the
government clerk or the lawyer or even the reporters who cover the seemingly safer
beats. We understand, for example, that it is possible to step away, to retreat to some
safe mental corner while noting down the observation that the body in the water is
probably female, that what may or may not be breasts are still under the faded yellow
shirt, in spite of the fact the face above the shirt has been stripped of skin and flesh.
It is of course presumptuous for me to use the word “we” instead of “I,” but “I”
is a pronoun that I have used under protest in the last few years. “I” is personal, it
redirects the spotlight, it is arrogant and indulgent and emphasizes the primacy of
personal opinion instead of the real story. I don’t pretend to speak for all journalists,
or even for some journalists. I’m not certain I even speak for myself, as the safe
mental corner that I used to have is no longer particularly safe. Fourteen million
people were affected, at least 6,000 died. What I felt and continue to feel is not the
story I mean to tell, as there are many things more deserving of public space than
the confusion of a 28-year-old journalist, especially one who demanded for this
coverage and found out that the magic cape has holes.
Everyday I asked the questions. Framed the interviews. Rolled the video.
Held up a hand to stop a weeping man midsentence because of the roar of the C130
swooping overhead. Nodded, in understanding, as if it was possible to understand
how it feels to watch wife and children drown while hanging on to a slab of concrete.
I asked survivors about the height of the waters and the loss of daughters, and
although many of them were desperate to tell their stories, it was impossible not to
feel exploitative, that we were, or I was, using their grief to add to the grand drama
that was the aftermath of typhoon Haiyan.
I don’t pretend I made any sort of difference. The stories I told were stories
people might or might not read or watch – or share, in the language of the Internet – but
they were only stories, and at the end of the day I knew I was leaving, knew that in a
week or two weeks I would be in Manila at my desk and the weeping father would still be
there, in the dark, dreaming of his lost babies. I suspect I went looking for the worst to
validate my being on the ground. It would be romantic to say I was bearing witness for
the victims. The truth was that I went from shock to further shock, and I was afraid,
always, that I wasn’t doing anyone’s story justice. Covering Haiyan was like walking into
a Salvador Dali painting and discovering the paint was still damp.
57
I asked for a week longer, after a week I stayed one more, and then was allowed
one more. I like to think I stayed as long as I could, but that’s only one way of telling the
story. The longer I stayed, the less guilty I felt. I admit I didn’t finish out that last week,
because on the 16th day I found myself on the coast shooting a woman’s corpse
hanging from a tree. It took a long time to see the body. I was standing less than five feet
across, I could smell it, I was told it was there, but her head was pushed back and her
arms were the color of dead wood and my brain refused to acknowledge that what I was
staring at used to be a person. When the image suddenly made sense in my head, I took
the photo, then turned to vomit into the bushes.
There were many more bodies before and after that, mass graves with
hundreds of tangled dead, but none of them had me heaving with my hands on my
knees. Maybe it was the fact she hung meters away from the shanty of a man who
refused to leave for an evacuation center because he was waiting for his missing
wife to come home – “I want to be here when she comes,” he said. His name is
William Cabuquing, and he was one of the survivors who packed the bodies of his
neighbors into bags 14 days after he staggered home bleeding after being swept
across the bay. He did not know who the woman on the tree was.
That night I was on the phone with my editor. Are you all right, she asked. It
was a question that at that point seemed terribly important, and I stuttered and
mumbled and was largely inarticulate until I managed to say, after a series of
evasions, that yes, I wanted to go home.
The truth is that there is no going home. It is difficult to write about it, and more
difficult to write about anything else. I am aware there are many journalists who can
move past stories like this, that my job demands I move past it myself. I also know there
are others like me who have been smoking too much and sleeping too long, who have
come home to wake in the night, unable to move on to other stories and other
responsibilities, aware, one way or another, that whatever story comes along, Haiyan is
out there, and the promises we made are still no more than promises.
I don’t know what I intended to say. Maybe that I can’t forget, or that I’m afraid
I will. Many of us who were on the ground are afraid to say what it was like, because
we’re supposed to be tough as nails. We’re supposed to be brave. We’re meant to
serve the story. We’re supposed to walk away from the mass grave and report the
number and the state of decomposition. We can stand in the hellhole that was
Zamboanga City in September and say yes, we can take more. We’re afraid if we
say we can’t, we won’t be sent to the next story, will be told we don’t have the balls,
don’t have what it takes, can’t deliver, won’t survive. I say “we” because it’s harder to
say “I,” and maybe that was what I meant to say. – Rappler.com
58
st st
21 Century Literature for 21 Century Readers
As society and technology change, so does literacy because technology has
st
increased the intensity complexity of literate environments, the 21 century demands
that a literate person possesses a wide range of abilities and competencies. These
literacies – from the reading online newspapers to participating in virtual classrooms
– are multiple, dynamic and malleable. As such, twenty-first century readers and
writers need to:
1. Develop proficiency with the tools of technology.
2. Build relationships with others to pose and solve problems collaboratively
and cross-culturally.
3. Design and share information for global communities to meet a variety of
purposes.
4. Manage, analyze, and synthesize multiple streams of simultaneous
information.
5. Create, critique, analyze, and evaluate multi-media texts.
As widely known, the twenty-first century readers grow up using technology as
primary learning tool. They are capable of navigating and interpreting digital formats and
media messages. They possess literacy skills which include technological abilities such
as keyboarding, internet navigation, interpretation of technological speak, ability to
communicate and interpret coded language and decipher graphic.
21st century literature per se is anything that was written and published in the
year 2000s. It is a bit too early to give a definite and elaborate description of the 21st
century literature in the Philippines and the world. It is possible, however, to
approach contemporary literature as a reaction to and dialogue with existing forms of
expressive culture. As we engage in technology more and more, we create and
discover more existing forms of expressive culture as well.
Here are more examples of literary genres in the 21st century Philippine
literature:
1. Creative nonfiction. It’s a rich mix of flavors, ideas, and techniques, some of
which are newly invented and others as old as writing itself. Creative
nonfiction can be an essay, a journal article, a research paper, a memoir, or a
poem; it can be personal or not, or it can be all of these. Some of the creative
nonfiction in the Philippines are:
2. Hyper poetry. Hypertext poetry and hypertext fiction are new genres of
literature that use the computer screen as medium, rather than the printed
page. The literary works rely on the qualities unique to a digital environment,
such as linked World Wide Web pages or effects such as sound and
movement. Hypertext “poetry” can consist of words, although not necessarily
organized into lines and stanzas, as well as, sounds, visual images,
movement or other special effects.
59
3. Mobile phone text tula. A cell phone novel, or mobile phone novel is a literary
work originally written on a cellular phone via text messaging. This type of
literature originated in Japan, where it has become a popular literary genre.
8. Graphic novels. The ‘graphic novel’ has existed as an art form arguably from
the time our species learned how to paint. However, the term has only been in
use since the 1960’s, and though it’s often a hotly debated issue, it’s generally
accepted that a graphic novel is a longer work or collection of works presented
in ‘comics’ style. Some of the graphic novels in the Philippines are:
1. The Mythology Class (Nautilus comics) by Arnold Arre
2. Light (Anino comics) by Rob Cham
Contemporary writers often consciously draw inspiration and ideas from the
writers who have come before them. As an outcome, many works of 21st literature
deal with the events, movements and literature of the past in order to make sense of
the current times.
-https://21stcenturylitph.wordpress.com/introduction-to-philippine-
literature/
60
What’s More
1. How was “Ground Zero” of the 9/11 terrorist attack transformed into a
memorial? What does it look like? Find a picture of the latest ground zero
memorial grounds.
2. What is Hidalgo’s essay all about? Who is its target audience?
3. How does an author’s voice affect the essay? How can an author establish
his or her voice in writing an essay?
4. What does the writer want to communicate to her readers through this essay?
How do you respond to the message that you perceive from what she has
written?
Activity 4. Answer the “Learning Map” (LMs) below. Write your answer
in the space provided.
What is one personal story that you have
that can help you relate more to the essay
on hand? How is the deadly Typhoon Haiyan
portrayed in the text?
61
Activity 5. You, the 21st century students, are privileged to enjoy the literary
innovations of your time. Use these developments to exercise your
creative thinking skills. Compose the texts indicated below. Adhere
to the themes that are related to the 21st century. See the rubrics
for the criteria.
Rubrics in the online Lit O VG G S NI
Publication
1. Creativity 5 4 3 2 1
2. Relevance to the theme 5 4 3 2 1
3. Use of the language 5 4 3 2 1
4. Plus Factor 5 4 3 2 1
TOTAL POINTS
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What I Have Learned
Activity 7. Write six-word stories on what you have learned. SWS is a story
within a limited number of character. Example: “It’s not working, let
me go.”
1 2 3 4 5 6
63
What I Can Do
Activity 8. Textula is done using a mobile phone. With the use of social
media, we can practice expressing our emotions and
opinions in a more creative and artistic way while more
people have the chance to see it.
I. Create a twitter account and send your Tanaga/text tula with a hash tag
#21CPhiLit. Make it trend on twitter by making sure the whole class sends it at
the same time.
64
Rubrics on Audio- Visual (AVP) Presentation
Areas Needs Satisfactory Very Good Outstanding
Improvement
(2) (3) (4) (5)
organization There is no Content is presents Presents
sequence of logically organized information in information in
information, just a for the most part, logical sequence logical, interesting
series of facts but audience which audience sequence which
could have some can follow, but audience can
difficulty following the overall follow.
presentation. organization of
topics is basic.
Content Content is minimal Includes some Includes Covers topic in-
Knowledge and/or there are essential essential depth with details
several factual information about knowledge about and examples.
errors. the topic and/or the topic. Subject Subject
there are a few knowledge knowledge is
factual errors. appears to be excellent.
good, but student
doesn't
elaborate.
Visual Student used little Student Visuals related to used visuals to
Attractiveness to no visuals occasionally used text and reinforce
and/or use of font, visuals that rarely presentation. presentation and
color, graphics, supported text and Student makes makes excellent
effects etc.distract presentation. good use of font, use of font, color,
from the Student makes color, graphics, graphics, effects,
presentaion use of font, color, effects, etc. to etc. to enhance
content. graphics, effects, enhance to the presentation.
etc. but presentation.
occasionally these
detract from the
presentation
content.
Mechanics More than 4 errors Four misspellings Three or fewer No misspellings or
in spelling or and/or misspellings grammatical
grammar. grammatical and/or errors.
errors. mechanical
errors.
Total Point
Adapted from: http://rubistar.4teachers.org/index.php?screen=ShowRubric&rubric_id=2562213&
III. As a leading digital artist of a production company, they want you to make an
audio-visual presentation (AVP) of the future of Philippine literature for an
upcoming PEN conference.
Tips to Remember:
1. Your AVP must, first and foremost, feature the different trends in Philippine
literature and some notable stories and their scenes in it.
2. It must be creative and hip for the younger audience, but also comprehensible
for the more mature ones. It should also not be longer than 5 minutes.
3. See the rubrics for the criteria.
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Rubrics on Audio- Visual (AVP) Presentation
IV. Imagine that you are a highly regarded professor. You are tasked by your
university to write a critical review of a book published in your region or
hometown. It may be any book that you wish to review as long as it promotes
local culture and way of life.
Tips to Remember:
1. Your review must be two to four pages long, doubled-spaced, and with a
proper title and format of a critical paper.
66
2. It must also be entertaining for both young adults and adults, for it will be
printed on both magazines and school journals. After writing, you will
exchange work with your colleague.
3. Both of you will give constructive criticism about each other’s work.
See the rubric below for the criteria.
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Summary
Philippines is rich with literature which has existed long before it was
colonized by different countries like Spain, America and Japan. It shows the customs
and traditions of our ancestors. It also expresses the feelings about love, happiness,
griefs, thoughts and even sentiments of the Filipinos during the time when we were
already under the Spanish government, American and Japanese government. It is
closely interrelated with our history. But not all literature are true to history because
we have fiction and non-fiction. Fictions are just mere imagination of the writers like
the stories of creation shared in this module. Non-fictions are stories which really
th
happened like the story of the 9/11 in New York in early 20 century which is also
found in this module.
Our literature has evolved. First, it was written using our own alphabets and
dialects of the different provinces of the country and others were shared orally by
their parents and passed on from one generation to the next generation which we
call it folktales. The Spaniards proved that our ancestors we were fond of poetry,
songs, stories, riddles and proverbs. We have many stories about legends like how a
certain place got its name. There were also heroic stories about saving a woman or
saving a village which we call it as epic stories.
Then came the Spaniards. We were under the Spanish government for more
than 3 centuries. We were taught with Roman alphabets and Catholic religion. Many
Filipinos were converted, so our literature has religious tone. We have stage plays
about the passion and death of Jesus Christ and poems orally delivered during
Lenten season. But we have Balagtasan in Tagalog, a poetic debate on particular
issue. We also Corrido and Awit which are long narrative stories.
When the Americans came after the Spaniards, more Filipinos were inspired
to write not only using the dialects from the different provinces as the medium, but
also in English language. Most of the works of literature were published because we
already have periodicals. Added to the different genres was the essay, formal and
informal essays.
The last to invade our country was the Japanese. They introduced short
poems which are called Haiku and Tanaga.
st
And now in this 21 century. Everybody can be a writer in any way we want.
We can express our feelings and deliver it through writing in different platforms
through Internet. There is no more observance of rhymes, syllabications or medium
used. It can be spread right away. All are considered correct because freedom of
expression nowadays is well emphasized.
68
Assessment (Post Test)
15. What did Rizal believe can cure the cause of indolence among Filipinos.
a. revolution b. peace c. education d. slavery
3. What was the situation of the Filipinos based on “The Indolence
of Filipinos” essay.
They lived lazily in their homes
They worked so hard with less pay.
They worked but not appreciated.
They lived without work.
4. In the story, “Condemned” what qualities did Pablo want for his mother.
A mother who would love him.
A mother would discipline him.
A mother who would not mind him.
Both a and b.
5. Pablo grew up with undesirable traits because
He has everything he wanted
He was tolerated by Tia Chedeng.
He lacked his mother’s love.
He was very poor.
6. Cristina wanted to marry Pablo before his death because
She has no one to turn to.
Pablo’s mother was rich.
Pablo has wealth to leave her.
She loved Pablo very much.
7. Whom did Pablo blame his life sentence?
The man who attempted to rape Cristina.
Cristina who walked alone that night.
His mother who left him since 10 years old.
Tia Chedeng for always understanding him.
8. Who has the greatest love for Pablo.
His mother Angela.
His fiancée Cristina
His Aunt Tia Chedeng
His priest friend.
9. Who was condemned in the play, “Condemned”
Angela.
Cristina
Pablo
All of the above
23. In the poem,”Icarus in Catechism Class”, who do you think is speaking?
a. Icarus b. Daedalus c. angels labyrinth 24. The lines in
“Icarus in Catechism Class”, what does it mean?
Or make us angels all, with dirty feet,
Without wings, chanting the
beatitudes,
a. Icarus was interested to fly.
b. Icarus was disinterested to fly.
c. Icarus was excited to fly.
d. Icarus wanted to fly for escape.
25. What did the poem,“Icarus in Catechism Class” believed for angels?
a. with dirty feet b, with halo c.with clean
feet d. without halo
70
.
34. In the selection, The Creation, what was God created on the third day?
35. The following are the characters in the poem Coñotation, except:
a. mare C. pare
b. dude D. man
36. What does Coño means ________?
a. nickname of a person C. nickname of an old man
b. Nickname of an old woman D. nickname of a family
member
37. What language in the poem, Coñotation being used?
a. Filipino-English C. English-Tagalog
b. Cebuano-Filipino D. Multilanguage
38. How does “Ground Zero” of 9/11 terrorist attack being describe by the
writer?
a. America change C. masses cries
b. Innocent dies D. both B and C
39. What is Hidalgo’s essay all about?
a. It captured how terrorist attract the tower.
b. It highlighted how the world trade center incredibly collapsed.
c. It talked about life is not permanent.
d. It focused on the painful experiences.
40. How do you fell after reading the selection of Hidalgo?
a. excited C. sad
b. happy D. contented
41. How was the typhoon Haiyan being describe in the article writer?
a. Covering Haiyan was like walking into a Salvador Dali
painting, discovering the paint…
b. Witnessing Haiyan incident was painful.
c. Seeing the incident, “the longer I stayed, the less guilty I felt”…
d. Covering a photo means turned to vomit into the bushes.
st
42. The following are the reasons why 21 century readers and writers
exposed themselves in reading, except:
a. Develop proficiency with the tools of technology
b. Build relationships with others to pose and solve problems
collaboratively and cross-culturally
c. Manage technological skills
d. Design and share information for global communities to meet
a variety of purposes
43. Cardinal Sins’ the Genaral’s Cross, the Martyr’s Testemony and other
Affirmations by Brillantes, is an example of ____________.
a. Hyper poetry C. Click It
b. Creative nonfiction D. Speculative Fiction
44. The Smaller and Smaller Circles by FH Batacan, is an example of
________?
A. Hyper poetry C. Click It
72
B. Creative nonfiction D. Speculative Fiction
73
.D Sarong Baggui 10.
.B Francisco Baltazar 9.
Key To Answers .A anecdote 8.
Father
.C The Laughter of my 7.
.B litera 6.
Lesson 2 .A ode 5.
What I Know/Pre Test .A Florante at Laura 4.
1. B .B Sonnet 3.
2. A .B Biography 2.
3. C .A Literature 1.
4. C Activity 1
5. B What I know
What’s In
Activity 2
1. Myth
2. Fable
3. Legend
4. Lullaby
5. Proverbs
What’s New
Activity 3
1. Corrido
2. Rosary
3. Sinakulo
4. Sarswela
5. Duplo
What’s More
Activity 4
Answers vary
What I Have Learned
Activity 5
indolent .5
Doctrina Cristiana .4
Mi Ultimo Adios .3
Passion .2
Balagtasan .1
Assessment/Post Test
1. b
2. b
3. d
4. c
5. b/c
Lesson 1
What I Know/Pre-Test
1. Epic
2. Legend
3. Folktale
4. Fable
5. Folksong
What’s In
5 Proverbs .4 Lullaby .3 Legend .2 Fable .1 Myths
74
Lesson 3
What’s In What I Know
Activity 2 Activity 1
1. C
E I A N N S O L O M O B A 2. B
I N L A G I N G H A N A D 3. D
Z G O I N N G S D U P L O 4. D
5. B
E E N D L A P L A Y S A B What’s More
N L Z A T K A M A N A G O Activity 4
H E Z L O U M A M I T T A Answers vary
O I N D O L E N C E P A L What I Can Do
R O S E L O B R I G H S T Activity 6
W I N N E K O M E D Y A S Answers vary
Assessment/Post Test
E P H R A I M O M M Y N R 1. D
A D N I L A S O R C A N E 2. b/c
3. d
4. a/b/c
5. d
.5
.4
.3 D .5
.2 .Yes Because he asked to take care of Cristina . 4.
.1 .No He was loved and cared by Tia Chedeng 3.
3.Activity C .2
What’s New B .1
Activity 5
Lesson 4 What I Have Learned
What’s In
Activity 2
D
R P
A C o n d e M n e d
M E E
A T N S
S H O R T S T O R I E S
Y V A
E Y
p L a Y s
75
30. .B A wise man can understand .once
29. .C Courtship
seems like her
28. .A Before she was not noticed by him, but noe he C .45
.C It is better to live simply with a human .heart D .44
but .rude B .43
27. .A It is better to be poor but kind than to be rich C .42
26. .B Proverbs A .41
.c with clean feet C .40
25. .B with halo B .39
24. .B Icarus was disinterested to .fly D .38
.23 Icarus.A A .37
22. .D All of the above C .36
21. .B His fiancée A .35
.old D .34
20. .C His mother who left him since 10 years C.33
19. .D She loved Pablo very .much B .32
18. .C He lacked his mother’s .love B .31
17. .D Both A & B
.C The Filipinos workd but not appreciated
.pay
.B The Filipinos worked so hard with less 16.
.C Education 15.
.A Spanish 14.
.B He explained why Filipinos are indolent 13.
.B 12.
.A Debt of gratitude 11.
.A Play 10.
.B Amrican period 9.
.B Innovative 8.
.B Mi Ultimo Adios 7.
.C Lullaby 6.
.A Riddle 5.
.B Proverbs 4.
.C Epic 3.
.D Passion 2.
.D Doctrina Cristiana 1.
Assessment
76
References
“Bible Gateway passage: Genesis 1 - Good News Translation”, Accessed June 14,
2020. Bible Gateway.
https://www.biblegateway.com/passage/?search=Genesis+1&version=GNT
“Coñotations: A Poem by Paolo Manalo”, Accessed June 14, 2020. Thoughts and
Emotions. https://aquarius129.wordpress.com/2009/03/08/conotations-a-
poem-by-paolo-manalo/
http://jfmueller.faculty.noctrl.edu/toolbox/examples/cihock10/narrative.pdf
[accessed June 12, 2020].
https://www.eriesd.org/site/handlers/filedownload.ashx?moduleinstanceid=14837&da
taid=13730&FileName=5Comparison%20Contrast%20Rubric.pdf [accessed
June 12, 2020].
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