PHILIPPINE LITERATURE IN ENGLISH

LIT 1/LIT 114

MODULE 2
TIME FRAMES WITH A TOUCH OF PHILIPPINE MYTHOLOGY AND PERIODS OF PHILIPPINE
LITERATURE UNDER SPANISH COLONIZERS

CONTENTS OF THE MODULE

This module contains the following lessons:
Lesson 3 : Time Frames with a Touch of Philippine Mythology
Lesson 4 : Periods of Philippine Literature Under Spanish Colonizers

DIRECTIONS ON HOW TO USE THE MODULE PROPERLY

In order to benefit profoundly from this module, please be guided by all the key
points presented below.
1. This module contains two ( 2 ) lessons. Each lesson i s explained
substantively. Read the explanations thoroughly so that you would understand
the lesson entirely.
2. On the f i rst page of each lesson, you will find the specific learning outcomes
( SLOs) of each lesson. SLOs are knowledge and skills you are expected to
acquire at the end of the lesson. Read them heartily.
3. You must answer the Learning Activities/ Exercises ( LAEs). The LAEs
are designed to help you acquire the SLO
4. Feel free to chat, call, text or send me an email i f you have questions,
reactions, or reflections about the module’ s contents or activities.
5. The Practice Task/ Assessment and the Assignment shall be checked by me.

LESSON 3 – TIME FRAMES WITH A TOUCH OF PHILIPPINE MYTHOLOGY

After studying this module you should be able to:

1. Internalize the different timelines that gave much contribution on our country
2. Embody the mythological creatures in the Philippines
3. Analyze the traditions that were present based on the description of each deities

MOTIVATIONAL/PROMPTING QUESTIONS
Have you ever wondered when and where did we adapt our traditions? Have you
read or watched Greek gods and goddesses and wondered if we also have the same existing
deities in our country?

DISCUSSION

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It can be said that Philippine literature in English has achieved a stature that is, in a
way, phenomenal since the inception of English in our culture.
Our written literature, which is about four hundred years old, is one of slow and
evolutionary growth. Our writers strove to express their sentiments while struggling with
foreign medium. The great mass of literature in English that we have today is, indeed, a
tribute to what our writers have achieved in the short span of time. What they have written
can compare with some of the best works in the world.
Much is still to be achieved. Our writers have yet to write their OPUS MAGNUMS.
Meanwhile, history and literature are slowly unfolding before us and we as witnesses in the
assembly lines to an evolving literary life.
Time frames may not be necessary in a study of literature, but since literature and
history are inescapably related it has become facilitative to map up a system which will aid
us in delineating certain time boundaries.
These time boundaries are not exactly well-defined; very often, time frames blend
into another in a seeming continuum. For a systematic discussion of the traditions,
customs, and feelings of our people that can be traced in our literature, we shall adopt
certain delimitations.
These time frames are:
1. The Period of Re-orientation: 1898-1910
2. Period of Imitation: 1910-1925
3. Period of Self-Discovery: 1925-1941
4. Japanese Period: 1941-1945
5. The Rebirth of Freedom: 1946-1970
6. Period of Activism: 1970-1972
7. Period of the New Society: 1972-1981
8. Period of the Third Republic: 1981-1985
9. Contemporary Period: 1986 - present

Ancient Tagalog Deities in Philippine Mythology

The stories of ancient Philippine mythology include deities, creation stories,
mythical creatures, and beliefs. Ancient Philippine mythology varies among the many
indigenous tribes of the Philippines. Some groups during the pre-Spanish conquest era
believed in a single Supreme Being who created the world and everything in it, while
others chose to worship a multitude of tree and forest deities (diwatas). Diwatas came
from the Sanskrit word devata which means “deity“, one of the several
significant Hindu influences in the Pre-Hispanic religion of the ancient Filipinos. Below are
some of the gods and goddesses among the Tagalogs of the ancient Philippines:
The Tagalog people are a major ethnic group in the Philippines. They form a
majority in Manila, Marinduque and southern Luzon, and a plurality in Central Luzon and
the islands of Mindoro, Palawan, and Romblon.

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The first part as shown below were the residents of Kaluwalhatian (the Ancient
Tagalog Skyworld).  The list is divided into generations based on common beliefs about the
offspring of the gods.
FIRST GENERATION GODS:
Bathala  – The supreme god of being; creator of man and earth and addressed sometimes
as Bathalang Maykapal. He dwells in Kaluwalhatian together with the lesser gods and
goddesses. Aside from the lesser gods and goddesses, he sent his anitos in order to assist
the daily lives of every human. When most of the natives were converted to Christianity
during the Spanish Era, he was referred to the Christian God. 
Amanikable  – Originally this god was worshipped as the god of Hunters. In more modern
stories he has become associated as the ill-tempered god of the sea, replacing Aman Sinaya
among of the first generation gods (aside from Bathala), he was never married after his
love was spurned by a beautiful mortal maiden, Maganda. In frustration, he swore
vengeance against the humans by sending turbulent waves and horrible tempests in order
to wreck boats and to drown men.
Idiyanale – The goddess of labor and good deeds. Natives used to call for her guidance in
order to make their works successful. She married Dimangan and had two offspring.
Dimangan The god of good harvest. He was married to Idiyanale and had two offspring.
Ikapati – The goddess of cultivated land. She was the most understanding and kind among
the deities of Bathala. Her gift to man was agriculture. As the benevolent giver of food and
prosperity, she was respected and loved by the people. From her came fertility of fields and
health of flocks and herds.
Ikapati was said to have married Mapulon, god of seasons. They had a daughter
named Anagolay, who became the goddess of lost things. When Anagolay attained
maidenhood, she married Dumakulem, son of Idianale and Dumangan, by whom she had
two children, Apolake, who became god of the sun and patron of warriors, and Dian
Masalanta, who became goddess of lovers.
Lakapati – Often confused with Ikapati from variant Tagalog pantheons, Lakapati was a
major fertility deity.  During sacrifices made in a new field, the farmer would hold up a
child and say, “Lakapati, pakanin mo yaring alipin mo; huwag mong gutumin [Lakapati,
feed this thy slave; let him not hunger]” (San Buenaventura 1613, 361).
Prominent among deities who received full-blown sacrifices were fertility gods.
Lakapati, fittingly represented by a hermaphrodite image with both male and female parts,
was worshiped in the fields at planting time.
Mapulon – The god of seasons and husband of Ikapati of whom they had a daughter.

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Pantheon of Ancient Tagalog Gods

SECOND GENERATION GODS:

Mayari   – The goddess of the moon and one of the three daughters of Bathala by a mortal
woman. She was the most charming of all the goddesses. She had two sisters, Tala and
Hanan.
Tala – The goddess of the stars; sister of Mayari and Hanan and one of the three daughters
of Bathala by a mortal woman.
Hanan – The goddess of morning; sister of Mayari and Tala and one of the three daughters
of Bathala by a mortal woman.
Dumakulem – The strong, agile guardian of mountains and the son of Idiyanale and
Dimangan. His sister was Anitun Tabu. He later married Anagolay.
Anitun Tabu – The fickle-minded goddess of wind and rain. She was the daughter of
Idiyanale and Dimangan and the sister of Dumakulem.
Anagolay – The goddess of lost things and the only offspring of Ikapati and Mapulon. She
was married to Dumakulem.
 
THIRD GENERATION GODS:

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Apolaki  – The god of sun and the chief patron of warriors. He was the son of Anagolay and
Dumakulem.
Diyan Masalanta – The goddess of love, conception and childbirth and the protector of
lovers. She was the daughter of Anagolay and Dumakulem and youngest of all the deities.
 

Philippine gods Family Tree by Motzie Dapul via DeviantArt

Some variations exist depending on what source material you are referencing.  Some of
these differences include:
 In some sources, Bathala is the father of Apolaki, aside from Mayari and Tala hence
excluding Hanan.
 In some sources, Amanikable is referred as a sea deity of the Manobo tribe.
 In some sources, Idiyanale is identified as the goddess of agriculture.
 In some sources, aside from being a goddess of agriculture, Idiyanale is also
identified as the goddess of animal husbandry.
 In some sources, Lakapati is identified as a hermaphrodite and confused with the
female deity Ikapati.
 In some creation myth, Mayari is the sister of Apolaki.
 In some sources, Mayari is identified as an one-eyed goddess.
 In some creation myth, Tala is the sister of Mayari and Apolaki and the daughter of
Bathala.
 In some creation myth, Apolaki is the brother of Mayari and the son of Bathala.

Harmful Tagalog Deities in Ancient Philippine Mythology

In Outline of Philippine Mythology, F. Landa Jocano wrote, “The ancient Tagalogs also
believed in the final judgment of men—that is, the punishing of the evil and the rewarding
of the good. The souls of good men were said to be taken to a village of rest
called Maca, which resembled the Christian Paradise, where they enjoyed eternal peace
and happiness. However, those who deserved punishment were brought to Kasanaan, the
village of grief and affliction where they were tortured forever. These souls were kept there
by the chief deity named Sitan.”

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“I think it is important to say that there may not have ever been a Tagalog deity
named Sitan, but instead a class of demons that embodied evil and punishment, called
sitan” – documented by Juan de Plasencia’s in 1589 “Relation of the Worship of the
Tagalogs, Their Gods, and Their Burials and Superstitions”:
“There were also other pagans who confessed more clearly to a hell, which they called,
as I have said, kasanaan; they said that all the wicked went to that place, and there dwelt the
demons, whom they called sitan.”
With such a strong Islamic influence in the Tagalog region, the sitan may have been
more like the Arabic  zabaniyah –  the forces of hell, who torment the sinners, also called
the Angels of punishment or Guardians of Hell.
Jocano presents that Sitan was assisted by many mortal agents. The most wicked
among them was Mangagauay. She was the one responsible for the occurrence of disease.
She was said to possess a necklace of skulls, and her girdle was made up of several severed
human hands and feet. Sometimes, she would change herself into a human being and roam
about the countryside as a healer. She could induce maladies with her charms.
If she wished to kill someone, she did so by her magic wand. She could also prolong
death, even for a number of months, by simply binding to the waist of her patient a live
serpent which was believed to be her real self or at least her substance.
The second agent of Sitan was called Manisilat. She was sometimes known as the
goddess of broken homes. She was said to be restless and mad whenever there was a happy
home within sight. And when she was determined to destroy every such happy home, she
would disguise as a woman healer or an old beggar, enter the dwelling of her unsuspecting
victims, and then proceed with her diabolical aims. With the aid of her charms and magic
powers, she would turn the husband and wife against each other. She was most happy
when the couple quarreled and she would dance in glee when one of them would leave the
conjugal home.
The third agent of Sitan was known as Mankukulam, whose duty was to emit fire at
night, especially when the night was dark and the weather was not good. Like his fellow
agents, he often assumed human form and went around the villages pretending to be a
priest-doctor. Then he would wallow in the filth beneath the house of his victim and emit
fire. If the fire was extinguished immediately, the victim would die.
The fourth such agent was called Hukloban. She had the power to change herself
into any form she desired. In fact, some people said that she had greater power than
Mangagauay. She could kill anyone by simply raising her hand. However, if she wanted to
heal those whom she had made ill by her charms, she could do so without any difficulty. It
was also said of her that she could destroy a house by merely saying that she would do so.

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Manggagaway by Trixdraws via DeviantArt

Other Tagalog Deities in Philippine Mythology

The list includes the gods and goddesses who don’t have a unified pantheon within
the Tagalog deities mentioned above.
Aman Sinaya – She is the primordial goddess of the ocean and protector of fishermen.
Galang Kaluluwa (Wandering Spirit) – The winged god present in some creation myths
who loves to travel. He is identified as a close friend of Bathala.
Haik – god of the sea.
Lakambakod – The protector of the growing crops.
Lakambini – is known as the “pure maiden” for his incomparable beauty, ironic that he is a
male diwata. He was originally known as the god of “kapurihan” (purity) and is also the god
of food, festivity and anti-gluttony. worshiped mainly by men: they pray to Lakambini to let
them find a beautiful maiden to wed. An obscure deity called “abogado dela garganta”
(throat advocate) by the Spaniards and was turned into the god of gluttony.
Lingga – a phallic god.
Ulilang Kaluluwa (Orphaned Spirit) – It is a serpent god present in some creation myths
that was killed by Bathala after an ensuing rival.

LEARNING ACTIVITIES AND EXERCISES

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Answer the following briefly. Your answers will be rated according to the rubric that
follows.
1. Based on the given timeline, what period do you think we adapted most of our
traditions? Why? (20 points)
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2. What do you think would be the literary aspect of our country if the colonizers did not
arrive? (20 points)
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TEACHER INTERVENTION
The teacher created a students’ directory that includes the student name, home
address, preferred learning delivery mode, available gadgets, contact number, email
address and connectivity. The students are opting to pass their answers/output and ask
queries regarding the subject matter via email, messenger, text message, or they can drop
their modules at the guard house/ NORSU gate.

PRACTICE TASK/ASSSSMENT
Answer the following briefly. Your answers will be rated according to the rubric that
follows.
1. If you were to become one of the male deities, who would you be and why? Explain your
answer. (20 points)
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2. If you were to become one of the female deities, who would you be and why? Explain
your answer. (20 points)
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FEEDBACK TO ASSESSMENT
Rubric for Journal Writing

1
Assessment 2 3
0 Partially
Ratings Meets Exceeds Score
Does not meet meets
Expectations expectations expectations
expectations
Response Response to
adequately assigned topic
addresses thorough and
Response . Response
some aspects well written,
consists of thoughtful
of the with varied
unsupported and fairly well
assigned sentence
Content opinions only written; most
topic; structure and
marginally opinions
opinions vocabulary;
related to the supported
sometimes opinions
topic with facts
based on always
incorrect supported
information with facts.
Incomplete Good reliance
Excellent use
development upon
of examples
Ideas not of ideas; examples and
Idea and details to
clearly stated details and details to
Development explore and
or developed. examples not illustrate and
develop ideas
always develop ideas
and opinions.
evident. and opinions.
Quality Journal is The response Responses are Response is
completely off is not focused. adequate. well thought
topic. No There is no There is a out and well
personal personal little personal prepared.
connection connection. connection. There is a
was made. The topic is The topic is personal
The topic is not clear. No somewhat connection to
not clear. No descriptive focused and the content.
detail or language or somewhat The topic is
thought was detail was clear. Some, focused and
put into used. not a lot of clear. You have
content. The descriptive used vivid,
reader is language, or descriptive

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details when
necessary to
capture the
detail. Some
reader’s
details are
confused. attention.
explained at
Details are
length.
well thought
out and
explained.
The journal is
organized.
The start
The journal is and/or finish Journal is well
The journal is not organized. to your entry organized.
not organized. The start is somewhat There is a clear
There is no and/or finish clear. Most start and finish
start or finish to your entry explanations to your entry.
to your entry. is not clear. or events are Explanations
Your Your sequenced in or events are
explanations explanations a logical way. sequenced in a
are unclear are unclear Explanations logical way.
and do not and illogical. are adequate. Explanations
Organization
make sense. You have used You've used and details and
You have not 1 or 2 some show time and
used transition transition effort. You
transition words. Events words and have used
words. Events are not other writing transition
are not in any sequenced in elements in words and
sequential a logical way. your entry. other
order. The The reader The necessary
reader cannot has a difficult organization writing
understand time has some elements that
your entry. understanding glitches but add to your
your entry. overall the writing.
reader can
understand
your entry.
Met/Exceeded
Target
Near Target
The journal is
More Work Goal
at the required
Needed Getting There
length. You
The journal
have given
The journal is The journal entry is
more than the
only 1-3 entry is short almost the
required
sentences and shows required
length but
long and does little effort put length. Entry
maintained
not show any into it. shows some
high quality.
effort. effort put into
The journal
it.
reflects time
and effort put
into it.

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You had You had a

You had some You had no
numerous couple of
Grammar and errors in error in
errors in errors in
Mechanics spelling, spelling,
spelling, spelling,
capitalization, capitalization,
capitalization, capitalization,
and and
and and
punctuation. punctuation.
punctuation punctuation.

Overall
Assessment

ASSIGNMENT
Choose one Philippine mythological creature and write a short story about it. (20
points)

REFERENCES
 https://www.aswangproject.com/ancient-tagalog-deities-in-philippine-mythology/
 Arcinas Lolita V., “Listening to Many Voices; Year 4”. De La Salle University Press,
Inc. 2002.
 Lapid, Milagros G, Serrano, Josephine B., “English Communication Arts and Skills
through World Literature.” Phoenix Publishing House, Inc. Quezon City Philippines.
1997.
 Mora, Hemmady S., Tenedero, Edwin V., “World Literature (The literary
Masterpieces of the World)” Grandwater Publication, Metro Manila. 2018.

LESSON 4 – PERIODS OF PHILIPPINE LITERATURE UNDER SPANISH

COLONIZERS

After studying this module you should be able to:

1. Value the contribution of Spanish colonizers

2. Embody the different literary pieces that emerged during this period

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3. Remember and understand the customs and traditions under this period

MOTIVATIONAL/PROMPTING QUESTIONS
What have you learned on your history class when it comes to the colonization of
the Spaniards in our country? Was it a bad thing or a good thing?

DISCUSSION
The Pre-Spanish Period
Long before the Spaniards and other foreigners landed on Philippine shores, our
forefathers already had their own forefathers already had their own literature stamped in
the history of our race.
Our ancient literature shows our customs and traditions in everyday life as traced in
our folk stories, old plays and short stories.
Our ancestors also had their own alphabet which was different from the brought by
the Spaniards. The first alphabet used by our ancestors was similar to that of Malayo-
Polynesian alphabet.
Whatever records our ancestors left were either burned by the Spaniards friars in
the belief that they were works of the devil or were written on materials that easily
perished, like the barks of trees, dried leaves and bamboo cylinders which could not have
remained undestroyed even if efforts were made to preserve them.
Other records that remained showed folk songs that proved the existence of a native
culture truly our own. Some of these were passed on by word of mouth till they reached the
hands of some publishers or printers who took interest in printing the manuscripts of the
ancient Filipinos.
The Spaniards who came to the Philippines tried to prove that our ancestors were
really fond of poetry, songs, stories, riddles and proverbs which we still enjoy today and
which serve to show to generations the true culture of our people.
Pre-Spanish Literature is characterized by:
A. Legends
B. Folk Tales
C. Epics
D. Folk Songs
E. Epigrams, Riddles, Chants
F. Proverbs and Sayings

A. Legends

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Legends are form of prose, the common theme of which is about the origin of a
thing, place, location, or name. The events are imaginary, devoid of truth and unbelievable.
Old Filipino customs are reflected in these legends. Its aim is to entertain. Here is an
example of a legend:
THE LEGEND OF THE TAGALOGS
In a certain wide region of Luzon,
there was a village frequented by young
men. The town was full of trees, beautiful
flowers and a river where clear waters
flowed. What attracted the young men more
than the scenery was a beautiful nymph- like
maiden.

The maiden was Maria and she had
lots of suitors who came from afar and who
fought for her hand. But Maria remained
unconcerned and very choosy. Because she
was kind, her suitors remained undaunted so
Maria thought of a plan. She called all the
men together and told them, "You are all
good and kind and it is difficult for me to
choose one among you. Let me decide with a
test. "I'll marry the first man who can bring
me a big, live and strong serpent,"
  
Maria said in jest.The young men were dumbfounded.
After a while, the voice of Ilog broke the
silence. "I  promise to bring you one, Maria. Even if I
have to risk my like, I'll bring you what you
wish." Ilog was a man known for his bravery. He
left immediately to fulfill his promise.

The men whispered among themselves.They were sure that 
Ilog would never be able to return. They waited for a
long while but Ilog had not returned. Even
Maria was saddenedbecause she also grieved
the loss of a man as brave and accommodating as Ilog. 

After many hours,Ilog returned.They crowded to see how Ilog
would prove his bravery. Ilog held a big snake by its nape and tail. While the men
were thus occupied, two Spaniards passed
by. Theirattention was caught not by what
Ilog held but by the beauty of Maria.

"Maria," heroically called Ilog. "I've brought

you the serpent you wished for. What else
do you want me to do to make you happy?"

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The Spaniards were startled. They
asked the people around where they were
and in whatplace they were in but nobody
paid attention for their attention were
focused on the snake and onMaria. When
Maria saw that the snake was still
struggling, she shouted.
"Taga, Ilog! Taga, Ilog!" (Cut, Ilog! Cut,
Ilog!) which she addressed to Ilog so he
would
cut the snake up again.
The two Spaniards, thinking that this was in
answer to their question repeated the words
TAGAILOG, TAGAILOG which later
became TAGALOG.

B. Folk Tales
Ever since, the Philippines has been blessed with a wealth of folk tales. Because folk
tales have been passed on by word of mouth it is difficult to trace their origins.
Contemporary writers build their stories from old folk tales or from the products of their
imaginations.
Folk tales are made up of stories about life, adventure, love, horror, and humor
where one can derive lessons about life. These are useful to us because they help us
appreciate our environment, evaluate our personalities and improve our perspectives in
life. Here is an example of folk tale:
THE SUN AND THE MOON
(Tinguian Folk Tale)
In the olden days, like the moon, the sun also had children which were yellowish in
color, very bright and very hot. The star children of the moon, however, were reddish and
cool. The moon was scared that his stars would wither and die if they play with the star
children of the sun. the moon suggested to the sun that they kill their children who were
crowding the heavens with their number.
When the sun had killed his children, the moon merely hid behind the dark clouds.
In the evening, when the clouds faded, the moon stars appeared. This angered the sun so he
gave chase to the moon. Thus when he overtakes the moon, we have the so-called eclipse.
Every morning, the sun kills the moon stars that he catches.
Until now, this chase continues and because the moon continues to give birth to
stars, these moon stars are still around.
(An excerpt from PANITIKAN NG PILIPINAS. Author: Jose G. Villa)

C. Epics
Epics are long narrative poems in which a series of heroic achievements or events,
usually of a hero, are dealt with at length. Nobody can determine which epics are the oldest

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because in their translations from other languages, even in English and Spanish. We can
only determine their origins from the time mentioned in the said epics.
The HUDHOD and ALIM of the Ifugaos may have happened during the Stone Age
when iron was still unknown. The Darangan of the Moros may have started during the
period of the kingdom of the Bumbaran that sank in the Pacific Ocean during the Deluge.
Aside from the aforementioned epics, these are still other epics that can be read and
studied like the following epics.
a. Bidasari – Moro Epic
b. Biag ni Lam-ang – Ilokano Epic
c. Maragtas – Visayan Epic
d. Haraya – Visayan Epic
e. Lagda – Visayan Epic
f. Hari sa Bukid – Visayan Epic
g. Kumintang – Tagalog Epic
h. Parang Sabir – Moro Epic
i. “Dagoy” at “Sudsod” – Tagbanua Epic
j. Tatuaang – Bagobo Epic
k. Indarapatra at Sulayman
l. Bantugan
m. Daramoke-A-Babay – Moro Epic in “Darangan”
Herein are examples of some epics:
BIAG-Ni-Lam-Ang
(This epic was written by Pedro Bukaneg who was said to have been thrown by his
parents down the Abra River while still an infant because he was blind. A woman who
found him gave him away to an Augustinian priest. He was christened Pedro Bukaneg. He
was cared for, and sent to school until he became proficient in Spanish and Samtoy (Ilocano
dialect). He is now known as the Father of Ilocano Literature. From his name we derive the
word BUKANEGAN which means Balagtasan in Tagalog.)
An Outline of Biag-ni-Lam-Ang
In Nalbuan (now part of La Union) there once lived a couple by the names of
Namongan (the woman) and Don Juan (the man). When Namongan was about to deliver a
child, Don Juan went to the mountains to punish some Igorot tribes. Before he could arrive
home, the infant already talked and asked to be named Lam-ang. He was the one who chose
his own godfather. Because his mother was always the one watching him, he asked her
where his father was.
At 9 months, when Lam-ang’s father had not arrived, he followed him to the
mountains. On the way, he dreamed that the Igorots were holding a feast to celebrate the

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death of his father. He woke up and hungrily hastened to the Igorots and tortured one of
them before he set him free.
Upon his return to Nalbuan, some women friends gave him a bath in Amburayan
river. All the fish in the river died because of his dirt and foul smell.
Lam-ang fell in love with a woman named Ines Kannoyan whom he courted in her
hometown together with a white rooster and a dog. He met Sumarang, another suitor on
the way to Ines’ house, and after a fight slew him. He also met a lot of suitors in Ines’ house.
He let his rooster crow and immediately a neighboring house collapsed. Ines looked out of
the window. Lam-ang let his dog bark and immediately, the fallen house stood up again.
Ines’ parents consented to his courtship provided he could equal their wealth.
Lam-ang returned home. When he returned to Kaluntian (town of Ines) he rode a
boat full of boat worth more than the wealth of Ines. They were soon married and a big
wedding feast was held.
After several years, the town elders told Lam-ang that it was now his turn to catch
the rarang (a fish). This was everyone’s obligation.
Lam-ang confided to Ines about his premonition that he would be bitten by a
berkakan (a species of shark), if he caught the rarang. This came true; Lam-ang died.
In her grief, she called the rooster and a diver to gather the bones of Lam-ang and
when these were gathered and formed, Lam-ang came back to life.

ALIM
(Ifugao Epic)

In the early days, people lived in plenty, were happy and led quiet lives. The earth
was all level plains except for two hills, Amuyao in the east and Kalawitan in the west.
People lived between these two hills. People had nothing to worry about – food was plenty
and rice could be had from the joints of bamboos which were also used to cook them and
rice grains were big.
Water came from the juice of canes called bayak. If they liked fish, they just dipped
in the swamps and rivers. Deers and wild pigs were tame and were easy to catch. Whatever
they liked to eat was plenty.
A sad event happened in their lives when a drought came. Not a drop of rain fell. All
the plants and animals died. The people died of thirst and starvation. The people thought of
digging for water but in the strong flow of water, many people died. The people still
rejoiced even if there were deaths because of the water. The water flowed continuously
until everyone drowned except 2 brothers Wigan and Bugan. Wigan, the boy, was flung to
Amuyaw Hills while Bugan, the girl, was flung to Kalawitan Hills.
In the end, the water finally receded. Bugan was able to light a fire which was
spotted by Wigan. Wigan climbed the Kalawitan Hill and the brother and sister were
reunited. They traveled to far places but could not find people. Wigan put up a shack and
where he left her while he set about looking around. Finally, they discovered they were the
only ones left on earth.

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After a time, Bugan discovered that she was carrying a child and, in shame, she
thought of killing herself but Bathala, Makanungan, their god stopped her. They were
married and it was said that this was not a sin because that was the only way to start
populating the earth again.
They begot nine children – four girls and five boys. The four girls were wedded to
the four boys while the youngest, Igon, remained unmarried.
Another drought occurred and there was no food; so, they approached Makanugan.
Wigan caught a rat to offer to Bathala. When Bathala did not take pity on them, they killed
Igan and offered him to Bathalang Makanungan. Makanungan took pity and ended the
drought; he even attended their feast but he was not happy about the death of Igan.
Because of what they did, they would be punished; their family would be separated. Their
children would go to north, south, east and west of earth. The moment they would meet,
they would quarrel and kill each other. This was the curse of Makanungan which came true
because until now, the children, fathers, cousins and relatives kill one another.

D. Folk Songs
Folk songs are one of the eldest forms of Philippine literature that emerged in the
pre-Spanish period. These songs mirrored the early forms of culture. Many of these have 12
syllables. Here is an example:
KUNDIMAN
(Awit ng Pag-ibg – Song of Love)

Noong unang panahon ako ay bata pa,

Natisod mo na ay di pa alintana,
Nang ako ay lumaki at maging dalaga,
Tila sa wari ko ay may pagbabanta pa.

(When I was still young

You tripped me and still you didn’t care
When I grew up to be a woman
I believe that there is even a threat.)

Pagsinta mo sa akin ay di ko tatanggapin

Pagka’t akong ito ay alangan sa tingin,
Ako ay mahirap, pangit pa sa tingin,
Bakit naman ngayon ay iyong iibigin?

(Your love I will not accept

Because I don’t measure up to you
I am poor and ugly to look at,
Why will you love me?)

KUMINTANG
(War Song)

Ang nuno nating lahat

Sa kulog di nasisindak,

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Sa labanan di maawat,
Pinuhunan buhay, hirap,
Upang tayong mga anak,
Mabuhay nang mapanatag.

(Our ancestors weren’t afraid of thunder

In battle they didn’t run;
Their lives were at stake; they suffered pain,
So that we, children, can live in peace.)

ANG DALIT O IMNO

(Song to the God of the Visayans)

Pumanaog, pumanaog Descend, descend, Masilatan

si Mansilatan
Saka si Badla ay bababa,
Mamimigay ng olakas,
Pasayawin ang mga Baylan,
Pagligiran ng mga Baylan.
Badla will also descend
He’ll give away strength
Let the Baylans dance
Surround the Baylans.

ANG OYAYI O HELE

(Lullaby)

Matulog ka na bunso Go to sleep, my child

Ang tatay mo ay malayo Your father is far
Hindi niya tayo masundo He cannot fetch us
Pagkat ang daa’y maputik at For the way is muddy and rugged.
mabalaho.

DIANA
(Wedding Song)

Umawit tayo at ipagdiwang Let’s sing and fetch

Ang dalawang pusong ngayon For two heats who are to be
ay ikakasal married
Ang daraanan nilang landas The path they’ll pass
Sabuyan natin ng bigas. Let’s strew with rice.

SOLIRANING
(Song of the Laborer)

Hala gaod tayo, pagod ay tiisin

Ang lahat ng hirap pag-aralang bathin
Kahit malayo man, kung ating ibigin,
Daig ang malapit na ayaw lakbayin.

(Hey, let’s row, let’s bear our fatigue

All failures, let’s learn to bear
Even if far, if we like

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Much better than the near one we don’t want to tread.)

Kay pagka-sawing-palad ng
Ianak sa hirap,
Ang bisig hindi iunat,
Di kumite ng pilak.

(How pitiful are those born poor

Our sinews if we don’t stretch
Will not earn silver.)

TALINDAW
(Boatman’s Song)

Sagwan, tayo ay sumagwan,

Ang buong kaya ay ibigay,
Malakas ang hangin,
Baka tayo ay tanghaliin
Pagsagwa’y pagbutihin.

(Row, let’s row

Our full strength let’s give
The wind is strong; we might be benighted,
Let’s make good our rowing.)

OTHER FORMS OF PRE-SPANISH POETRY

E. Epigrams, Riddles, Chants, Maxims, Proverbs or Sayings
Pre-Spanish poetry consists of epigrams, riddles, maxims, proverbs much of which
came from Tagalog. Some consists of stanzas of wit and wisdom. Here are exmples:
1. Epigrams (Salawikain) – these have been customarily used and served as laws or rules
on good behavior by our ancestors. To others, these are like allegories or parables that
impart lessons for the young.
Example: Aanhin pa ang damo (What is the use of grass
Kung patay na ang kabayo. If the horse is already dead?)

Interpretation: Sometimes, what comes is too late to be useful.

2. Riddles (Bugtong or Palaisipan) – these are made up of one or more measured lines
with rhyme and may consists of four to 12 syllables.
Examples: Bungbong kung liwanag (Bamboo stem during the day
Kung gabi ay dagat. At night, a sea.)

Answer: Mat
3. Chant (Bulong) – used in witchcraft or enchantment.

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Example: Ikaw ang nagnakaw ng bigas ko (You stole my rice

Lumuwa sana ang mga mata mo May your eyes bulge
Mamaga sana ang katawan mo And your body swell
Patayin ka ng mga anito. Be killed by the anitos (gods).

4. Maxims – some are rhyming couplets with verses of 5, 6, or 8 syllables, each line having
the same number of syllables.
Example: Pag hindi ukol (What is not intended for one
Hindi bubukol. will not bear fruit.)

Sa marunong umunawa (To one who can understand

Sukat ang ilang salita. a few words suffice.)

5. Sayings (Kasabihan) – often used in teasing or to comment on a person’s actuations.

Example: Putak, putak Putak, putak (a sound made by a cackling hen)

Batang duwag Coward child
Matapang ka’t You’re brave only because you are in your nest.
Nasa pugad.

6. Sawikain (sayings with no hidden meanings)

Example: Nasa Diyos ang awa (In God we trust
Nasa tao ang gawa. In man, the effort to work.)

The Spanish Period (1565 – 1898)

Historical Background
It is an accepted belief that the Spanish colonization of the Philippines started in
1565 during the time of Miguel Lopez de Legazpi, the first Spanish governor-general in the
Philippines. Literature started to flourish during his time. This spurt continued unabated
until the Civil Revolt in 1872. The Spaniards colonized the Philippines for more than three
centuries.
During these times, many changes occurred in the lives of Filipinos. They embraced
the Catholic religion, changed their names and were baptized. Their lifestyles changed too.
They built houses made of stones and bricks, used beautiful furniture like the piano and
used kitchen utensils. Carriages, trains and boats were used as means of travel. They held
fiestas to honor the saints, the pope and the governors. They had cockfights, horse races
and theater as means of recreation.
This gave rise to the formation of the different classes of society like the rich and the
landlords. Some Filipinos finished courses like medicine, law, agriculture and teaching.
Many Filipinos finished their schooling in the Philippines because many schools already
had been established.
A. SPANISH INFLUENCES ON PHILIPPINE LITERATURE
1. The first Filipino alphabet called ALIBATA was replaced by the Roman alphabet.

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2. The teaching of the Christian Doctrine became the basis of religious practices.
3. The Spanish language which became the literary language during this time lent many of
its words to our language.
4. European legends and traditions brought here became assimilated in our songs, corridos,
and moro-moros.
5. Ancient literature was collected and translated to Tagalog and other dialects.
6. Many grammar books were printed in Filipino, like Tagalog, Ilocano and Visayan
7. Our periodicals during these times gained a religious tone.
B. THE FIRST BOOKS
1. ANG DOCTRINA CRISTIANA (THE CHRISTIAN DOCTRINE). This was the first book
printed in the Philippines in 1593 in xylography. It was written by Fr. Juan de Placencia and
Fr. Domingo Nieva, in Tagalog and Spanish. It contained the Pater Noster (Out Father), Ave
Maria (Hail Mary), Regina Coeli (Hail Holy Queen), the Ten Commandments of God, the
Commandments of the Catholic Church, the Seven Mortal Sins, How to Confess, and the
Cathecism. Three old original copies of this book can still be found at the Vatican, at the
Madrid Musem and at the US Congress. It contains only 87 pages but costs $5,000.0.
2. Nuestra Señora del Rosario. The second book printed in the Philippines was written by
Fr. Blancas de San Jose in 1602, and printed at the UST Printing Press with the help of Juan
de Vera, a Chinese mestizo. It contains the biographies of saints, novenas, and questions
and answers on religion.
3. Libro de los Cuatro Postprimeras de Hombre (in Spanish and Tagalog). This is the
first book printed in typography.
4. Ang Barlaan at Josephat. This is a Biblical story printed in the Philippines and
translated to Tagalog from Greek by Fr. Antonio de Borja. It is believed to be the first
Tagalog novel published in the Philippines even if it is only a translation. The printed
translation has only 556 pages. The Ilocano translation in poetry was done by Fr. Agustin
Mejia.
5. The Pasion. This is the book about the life and sufferings of Jesus Christ. It is read only
during Lent. There were 4 versions of this in Tagalog and each version is according to the
name of the writer. These are the Pilapil version (by Mariano Pilapil of Bulacan, 1814), the
de Belen version (by Gaspar Aquino de Belen of Bat. in 1704), the de la Merced (by Aniceto
de la Merced of Norzagaray, Bulacan in 1856) and the de Guia version (by Luis de Guia in
1750). Critics are not agreed whether it is the Pilapil or the de la Merced version which is
the most popular.
6. Urbana at Felisa. A book by Modesto de Castro, the so called Father of Classic Prose in
Tagalog. These are letters between two sisters Urbana at Felisa and have influenced greatly
the behavior of people in society because the letters dealt with good behavior.
7. Ang Mga Dalit kay Maria (Psalms for Mary). A collection of songs praising the Virgin
Mary. Fr. Mariano Sevilla, a Filipino priest, wrote this in 1865 and it was popular especially
during the Maytime “Flores de Mayo”festival.
C. LITERARY COMPOSITIONS

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1. Arte y Reglas de la Lengua Tagala (Art and rules of the Tagalog language). Written
by Fr. Blancas de San Jose and translated to Tagalog by Tomas Pinpin in 1610.
2. Compendio de la Lengua Tagala (Understanding the Tagalog language). Written by
Fr. Gaspar de San Agustin in 1703.
3. Vocabulario de la Lengua Tagala (Tagalog vocabulary). The first Tagalog dictionary
written by Fr. Pedro de San Buenaventura in 1613.
4. Vocabulario de la Lengua Pampanga (Pampanga vocabulary). The first book in
Pampanga written by Fr. Diego in 1732.
5. Vocabulario de la Lengua Bisaya (Bisayan vocabulary). The best language book in
Visayan by Mateo Sanchez in 1711.
6. Arte de la Lengua Ilokana (The Art of the Ilocano language). The first Ilocano
grammar book by Francisco Lopez.
7. Arte de la Lengua Bicolana (The Art of the Bicol language). The first book in the Bicol
language and written by Fr. Marcos Lisbon in 1754.
D. FOLK SONGS
Folk songs became widespread in the Philippines. Each region had its national song
from the lowlands to the mountains of Luzon, Visayas and Mindanao.
Folk songs truly manifest the artistic feelings of the Filipinos. They show the
Filipinos’innate appreciation for and love of beauty. The examples are Leron-Leron Sinta,
Pamulinawen, Dandansoy, Sarong Banggi and Atin Cu Pung Singsing. Here is an example:
Leron-Leron Sinta
(Tagalog)

Leron-leron Sinta, buto ng papaya

Dala-dala’y buslo, sisidlan ng bunga
Pagdating sa dulo’y, nabali ang sanga
Kapos kapalaran, humanap ng iba.

Ako’y ibigin mo, lalaking matapang

Ang sundang ko’y pito, ang baril ko’y siyam
Ang lalakarin ko’y, sampu ng dinulang
Isang pinggang pansit, ang aking kalaban.

Pamulinawen
(Iloko)

Pamulinawen Pusok imdengamman

Toy umas-asog agrayo ita sadiam
Panunotemman, agrayo ita sadiam.
Essem ti diak kalipatan
Ta nasudi unay a nagan
Uray sadin ti aya, disso sadino man
No malagipka, pusok ti mabang-aran.

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Dandansoy
(Bisaya)

Dadansoy, bayan tikaw, pa-uli ako sa payaw

Ugaling kon ikaw hidlawon, ang payaw imo lang lantawon.

Dadansoy, kon imo apason, bisan tubig di magbalon

Igaling kon ikaw uhawon, sa dalan magbobon-bobon.

Sarong Banggi
(Bicol)

Sarong bangui sa higdaan

Nakadangong ako, hinuni nin sarong gamgam
Sa loba ko, katorogam
Bako kundi simong voces iyo palan

Dagos ako bangon si sakuyang mata iminuklat

Sa tahaw nin kadikluman ako nangangalagkalag
Si sakuyang mata ipinasiring ko sa itaas
Simong laog nahiling ko maluhaan.

Duman sa inaaya bantog buayahon

Lumangoysi nooy sa kalipong awon
Dai mahiling niya ang saiyang kailusyon.

Atin Cu Pung Singsing

(Kapampangan)

Atin cu pung singsing

Etong yang timpucan
Amana que iti
Cang indung ibatan
Sangcan queng sininup
Quing metong acaban
Mewala ya iti
Ecu camalayan
Quing sucal nin lub cu
Susucdal quing banua
Mengurus cung gamat
Babo ning lamesa
Ninumang manaquit
Queng singsing cung mana
Calulug pusu su
Manginu ya que ya.

E. RECEREATIONAL PLAYS
There are many recreational plays performed by Filipinos during the Spanish times.
Almost all of them were in poetic form. Here are examples:

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1. Tibag – the word tibag means to excavate. This ritual was brought here by the Spaniard
to remind the people about the search of St. Helena for the Cross on which Jesus died.
A dramatic performance is usually done even without raised stage and held during
Maytime festivals. A cross is buried in a clearing mound in a yard near a church. Before the
town fiesta, St. Helena, with King Constantin and some soldiers start to look for the cross.
She digs on the mounds, while a dialogue ensues as the search continues. Upon reaching
the third mound where the cross is found, there is great jubilation around and then the
Cross is borne in a procession to the church where a priest performs religious the rites.
2. Lagaylay – this is a special occasion for the Pilareñ os of Sorsogon during Maytime to get
together. As early as April, the participating ladies are chosen and sometimes, mothers
volunteer their girls in order to fulfill a vow made during an illness or for a favor received.
In some parts of Bicol, a different presentation is made but the objective is the same –
praise, respect and offering of love to the Blessed Cross by St. Helen on the mound she had
dug in.
3. The Cenaculo – this is a dramatic performance to commemorate the passion and death
of Jesus Christ. There are two kinds: the Cantada and Hablada. In the Hablada the lines are
spoken in a more deliberate manner showing the rhythmic measure of each verse and the
rhyming in each stanza and is more dignified in theme; the Cantada is chanted like the
Pasion.
The Cenaculo is written in octosyllabic verse, with 8 verses to the stanza. The full
length versions take about 3 nights of staging. Performers come in costumes with wigs and
performers are carefully chosen for their virtuous life. One performs the role of Jesus Christ
and another the role of the Virgin Mary. Many famous Cenaculo players come from the
Tagalog regions although there are also those from Ilocos, Pampanga, Bicol and both
Sibulanon and Hiligaynon.
4. Panunuluyan – this is presented before 12:00 on Christmas Eve. This is a presentation
of the search of the Virgin Mary and St. Joseph for an inn wherein to deliver the baby Jesus.
5. The Salubong (or Panubong) - The Salubong is an Easter play that dramatizes the
meeting of the Risen Christ and his Mother. It is still presented in many Philippine towns.
Two processions are held by the church at early dawn. One is made up of men
bearing on their shoulders an image of the Risen Christ, the other, women carrying the
heavily veiled image of the Blessed Virgin. The procession converge at an appointed place
usually under a flower – like canopy constructed at the church patio or town plaza. At a
signal, the petals of the “Flower” open and a little girl dressed like an angel is slowly
lowered by a pulley. Singing “Regina Coeli Laetare,” she removes the Virgin’s mourning veil
and showers her with fresh flowers. The church bells ring at this point. Then together the
two images are carried back in procession to the church.
6. Carillo (Shadow Play) – this is a form of dramatic entertainment performed on a
moonless night during a town fiesta or on dark nights after a harvest. This shadow play is
made by projecting cardboard figures before a lamp against a white sheet. The figures are
moved like marionettes whose dialogues are produced by some experts. The dialogues are
drawn from a Corrido or Awit or some religious play interspersed with songs. These are
called by various names in different places: Carillo in Manila, Rizal and Batangas and
Laguan; TITRES in Ilocos Norte, Pangasinan, Bataa, Capiz and Negros; TITIRI in Zambales;
GAGALO or KIKIMUT in Pampanga and Tarlac; and ALIALA in La Union.

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7. The Zarzuela – considered the father of the drama; it is a musical comedy or melodrama
three acts which dealt with man’s passions and emotions like love, hate, revenge, cruelty,
avarice or some social or political proble.
8. The Sainete – this was a short musical comedy popular during the 18thcentury. They
were exaggerated comedies shown between acts of long plays and were mostly performed
by characters from the lower classes. Themes were taken from everyday life scenarios.

F. THE MORO-MORO
Like the Cenaculo, the Moro-moro is presented also on a special stage. This is
performed during town fiestas to entertain the people and to remind them of their
Christian religion. The plot is usually the same that of a Christian princess or a nobleman’s
daughter who is captured by the Mohammedans. The father organizes a rescue party
where fighting between the Moros and the Christians ensue.
The Mohammedans are defeated by some miracle or Divine Intercession and the
Mohammedans are converted to Christianity. In some instances, the whole kingdom is
baptized and converted. One example of this is Prinsipe Rodante.
G. KARAGATAN
This is a poetic vehicle of a socio-religious nature celebrated during the death of a
person. In this contest, more or less formal, a ritual is performed based on a legend about a
princess who dropped her ring into the middle of the sea and who offered here hand in
marriage to anyone who can retrieve it.
A leader starts off with an extemporaneous poem announcing the purpose. He then
spins a “lumbo”o “tabo”marked with a white line. Whoever comes in the direction of the
white line when the spinning stops gets his turn to “go into the sea to look for the ring.”This
means a girl will ask him a riddle and if he is able to answer, he will offer the ring to the girl.
H. DUPLO
The Duplo replace the Karagatan. This is a poetic joust in speaking and reasoning. The roles
are taken from the Bible and from proverbs and saying. It is usually played during wakes
for the dead.
I. THE BALAGTASAN
This is a poetic joust or a contest of skills in debate on a particular topic or issue. This is
replaced the DUPLO and is held to honor Francisco “Balagtas”Baltazar.
J. THE DUNG-AW
This is a chant in free verse by a bereaved person or his representative beside the
corpse of the dead. No definite meter or rhyming scheme is used. The person chanting it
freely recites in poetic rhythm according to his feelings, emotions and thoughts. It is
personalized and usually deals with the life, sufferings and sacrifices of the dead and
includes apologies for his misdeeds.
The Ilocanos and the Igorots of eastern Benguet use this traditional poem for their
dead and is a counterpart of the TAGHOY or PANAMBITAM of the Tagalogs.
K. THE AWIT and the CORRIDO.

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Some use these two interchangeably because distinction is not clear. For purposes of
comparison, we distinguish the two this way:
 The Corrido is an octosyllabic verse.
 The Awit is in dodecasyllabic verse.
 The Corridos were usually on legends or stories from European countries like
France, Spain, Italy and Greece.
 The Awits are fabricated stories from the writers’ imagination although the setting
and characters are European.
 The Corrido refers to narration.
 The Awit refers to chanting.
 The Corrido and Awit are both referred to as narrative poetry.

LEARNING ACTIVITIES AND EXERCISES

Answer the following briefly. Your answers will be rated according to the rubric that
follows.
1. What are the themes of the literary forms during the Pre-Spanish period? (20 points)
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2. What was the way of life of the pre-colonial Filipino? (20 points)
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TEACHER INTERVENTION
The teacher created a students’ directory that includes the student name, home
address, preferred learning delivery mode, available gadgets, contact number, email
address and connectivity. The students are opting to pass their answers/output and ask
queries regarding the subject matter via email, messenger, text message, or they can drop
their modules at the guard house/ NORSU gate.

PRACTICE TASK/ASSSSMENT

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Answer the following briefly. Your answers will be rated according to the rubric that
follows.
1. Which of the Spanish influences you like the most? Why? (20 points)
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2. What if Spain never colonized the Philippines? (20 points)

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FEEDBACK TO ASSESSMENT
Please be guided with the following criteria in answering your learning activities
and practice task.
Rubric for Sentence Writing

1
Assessment 2 3
0 Partially
Ratings Meets Exceeds Score
Does not meet meets
Expectations expectations expectations
expectations
Consistently
remembers to
Consistently
capitalize the
remembers to
Does not Consistently first word of a
capitalize the
consistently remembers sentence and
first word and
remember to to capitalize inconsistently
Capitalization any other
capitalize the the first word remembers to
words
first word of of the capitalize
necessary
the sentence. sentence. other words
within the
within the
sentence.
sentence
when needed.
Adds Is able to use
Does not Consistently necessary colons,
consistently puts ending punctuation semicolons
Punctuation
put ending punctuation within the and quotation
punctuation. in writing. sentence marks
structure. appropriately.

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LIT 1/LIT 114

Writing
Writing Writing is a Writing samples shows
sample is a complete involves complex
fragment or simple compound sentence
Sentence run/on sentence. sentences. structure. Uses
Structure sentence. Uses Uses the sentence start
Does not use sentence sentence consistently
sentence starter most starter with correct
starter. of the time. consistently. words filled in
the blanks.
Improper
Improper
spacing Few spacing
spacing
between errors either
between all
many words between Good spacing
words in the
in the words or is evident
sentence or
Neatness sentence within words throughout the
letters in each
and/or make for writing
word make
letters in the somewhat sample.
for very
words make difficult
difficult
for difficult reading.
reading.
reading.
Sentence has
Sentence has
both a Words used in
Missing a subject and
subject and the sentence
Grammar subject or verb
verb with 2 are correct all
verb. agreement
or more the time.
with 1 error.
errors.

Overall
Assessment

ASSIGNMENT
Write your own reflection about the Philippines’ literature during the Spanish
period. (20 points)

REFERENCES
 Arcinas Lolita V., “Listening to Many Voices; Year 4”. De La Salle University Press,
Inc. 2002.
 Lapid, Milagros G, Serrano, Josephine B., “English Communication Arts and Skills
through World Literature.” Phoenix Publishing House, Inc. Quezon City Philippines.
1997.
 Mora, Hemmady S., Tenedero, Edwin V., “World Literature (The literary
Masterpieces of the World)” Grandwater Publication, Metro Manila. 2018.

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PHILIPPINE LITERATURE IN ENGLISH
LIT 1/LIT 114

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