Course Code:

Course Title: 21st Century Literature from the Philippines and the World
Course Type: Core
Pre-requisite: N/A

Co-requisite: N/A
Quarter: 1st
Course Topic: Timeline of Philippine Literature (Graphic,
Linguistic, and Ethnic Dimensions of Philippine
Literary History)

Quarter 1 Week 2-3 Module 2

HOW TO USE THIS MODULE

Before you start answering the module, I want you to set aside other tasks that will distract
you while enjoying the lessons. Read the simple instructions below to successfully enjoy the
objectives of this kit. Have fun!

1. Follow carefully all the contents and instructions indicated in every page of this module.
2. Write on your notebook or any writing pad the concepts about the lessons. Writing
enhances learning, which is important to develop and keep in mind.
3. Perform all the provided activities in the module.
4. Let your facilitator/guardian assess your answers.
5. Analyze conceptually the posttest and apply what you have learned.
6. Enjoy studying!

PARTS OF THE MODULE

Expectations - These are what you will be able to know after completing the lessons in the
module.
Before Anything Else - This will measure your prior knowledge and the concepts to be
mastered throughout the lesson.
Throwback! - This section will measure what learning/s and skills that you understand from
the previous lesson.
Wait a minute! – This section provides the introduction of the lesson. This could be in any
form like examining a picture, analyzing a situation, or answering a question.
Firming Up! - This section provides the discussion of the lesson to help you discover and
understand new concepts and skills.
Try Me! - These are activities designed to develop critical thinking and other competencies.
This can be done with or without a partner depending on the nature of the activity.
Things to Ponder - This section summarize/s the concepts and applications of the lessons.
Comprehension Check - It will verify how you learned from the lesson.
Checkpoint! - This will measure how much you have learned from the entire module
Wait, there’s more! - In this portion, an extended activity will be given for retention and
enrichment.

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EXPECTATIONS
At the end of this lesson, the learners are expected to:
1. identify the geographic, linguistic and ethnic dimensions of Philippine literary
history from pre-colonial to the contemporary;
2. distinguish the distinct characteristics of each literary period; and
3. create a timetable showing how the literatures on each literary period
flourished.

BEFORE ANYTHING ELSE!

Directions: Read each statement carefully. Arrange the jumbled letters to form
a word that will correspond to your answer.

_____________ 1. It is a form of folk lyric which expresses the hopes and

aspirations, the people's lifestyles as well as their loves. These are often repetitive
and sonorous. (FLKSNGSOO)
______________2. This is the dramatization of the pasyon, it shows the passion
and death of Christ. (ESANKLOU)
______________3. During the Japanese Period, Tagalog poets broke away from the
_______ tradition and instead wrote in simple language and free verse.
(LGSABATA)
______________4. Revolutionary Period is divided into two: Nationalistic Period
and the _____ Period. (AANGDPRPOA)
______________5. It is a metrical tale written in octosyllabic quatrains. (OKIROD)

THROWBACK!

What is the essence of literature?

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

What are the two division of literature?

______________________________________________________________________________
Differentiate prose from poetry.
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

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WAIT A MINUTE!
Some loosely interpret literature as any printed matter written within a book, a
magazine or a pamphlet. Others define literature as a faithful reproduction of
man’s manifold experiences blended into one harmonious expression. What are
the other forms of literature? Can we find literature everywhere?
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

FIRMING UP!

The diversity and richness of Philippine literature evolved side by side with the
country's history. This can best be appreciated in the context of the country's
pre-colonial cultural traditions and the socio-political histories of its colonial and
contemporary traditions.

TIMELINE OF THE PHILIPPINE LITERATURE

I. PRE-COLONIAL ( –BC TO 1564)

A. Characteristics
1. Based on oral traditions
2. Crude on ideology and phraseology
3. Ancient literatures were written on the perishable materials like dried leaves,
bamboo cylinder, and bark of the trees.
4. Literatures were handed down to us through the word of mouth.

B. Literary Forms
1. Oral Literature

a. Riddles (bugtong)—battle of wits among participants. These are effective ways

to inculcate the ability of logical thinking of a child.

tigmo—Cebu
paktakon—Ilonggo
patotdon—Bicol

Heto, heto na si Lelong (Here comes granfather

Bubulong-bulong who is always murmuring)

Answer: bee/bubuyog

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b. Proverbs (salawikain) —wise saying that contain a metaphor used to teach as
a food for thought.

A broom is sturdy because its strands are tightly bound.

Matibay ang walis, palibhasa'y magkabigkis.
People gain strength by standing together.

c. Tanaga— Filipino version of Japanese’s Haiku; a mono-riming heptasyllabic

quatrain expressing insights and lessons on life is “more emotionally charged
than the terse proverb and thus has affinities with the folk lyric”.

Tumatawag sa langit
Sana ay ‘wag ma galit
Tadhana’y makita
Malimot pagdududa

d. chants/bulong – Used in witchcrafts and enchantments usually by the old to

impart experiences, or by the community in tribal ceremony.

Tabi-Tabi po nuno.

The Hudhud chanted by the Ifugaos - The hudhud is chanted among the Ifugao
only during four occasions: the harvesting and weeding of rice, funeral wakes,
and bone-washing (bogwa) rituals.

You may listen to it here: The Hudhud Chants of the Ifugao by UNESCO
(https://www.youtube.com/watch?v=qDImhwTKMOk)

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2. Folk Songs—a form of fold lyric which expresses the hopes and aspirations,
the people’s lifestyles as well as their loves. These are often repetitive and
sonorous, didactic and naïve.
a. Hele or oyayi—lullaby
b. Ambahan (Mangyan) —7-syllable per line oen that are about human
relationships and social entertainment.
c. Kalusan (Ivatan) —work songs that depict the livelihood of the people
d. Tagay (Cebuano and Waray) —drinking song
e. Kanogan (Cebuano)—song of lamentation for the dead

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3. Folk Tales
a. Myths—explain how the world was created, how certain animals possess
certain characteristics, why some places have waterfalls, volcanoes, mountains,
flora or fauna

BAKUNAWA: The Moon Eating Dragon of Philippine Mythology

b. Legends(alamat)—explain the origin of things

Alamat ng Pinya

c. Fables—used an animal characters and allegory

Si Pagong at si Matsing
Ang Langgam at ang Tipaklong

d. Fantastic Stories—deal with underworld characters such as “tiyanak”

“aswang” “kapre” and others.

Urban Legends - The WHITE LADY at the Balete Drive

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4. Epics—these are narratives of sustained legth based on oral tradition revolving

around supernatural events or heroic deeds.

Biag ni Lam-Ang ng mga Ilokano

II. SPANISH COLONIZATION PERIOD (1565–1863)

The start of the deprivation of the indigenous Philippine literature, Spanish

colonial government finally got in the scene. They were able to manipulate
literature by monopolizing it under the religious orders. Literature evolves mainly
on the themes of Spanish/ European culture and of course, the Roman Catholic
religion.

A. Characteristics
1. It has two distinct classifications: religious and secular
2. It introduced Spanish as the medium of communication

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B. Literary Forms
1. Religious Literature—religious lyrics written by Ladino poets or those versed
in both Spanish and Tagalog were included in early catechism and were uses to
teach Filipinos the Spanish language.
a. Pasyon—long narrative poem about the passion and death of Christ. The most
popular was “Ang Mahal na Passion ni Jesu Cristong Panginoon Natin” by Gaspar
Aguino de Belen.
b. Senakulo—dramatization of the pasyon, it shows the passion and death of
Christ

2. Secular (non-relisious) Literature

a. Awit—colorful tales of chivalry made for singing and chanting Ex. Ibong
Adarna
b. Korido—metrical tale written in octosyllabic quatrains
c. Prose Narratives—written to prescribe proper decorum

JOSE DELA CRUZ (1746-1829) – he was the foremost exponent of the komedya
during his time.

FRANCISO BALTAZAR (1788-1862) – he was popularly called Balagtas, he is the

acknowledged master of traditional Tagalog poetry.

C. Literary Styles and Themes

The topics covered by the literary works include religion, specifically Christianity,
and European traditions. Grammar books in Tagalog were also published at that
time period. Some were sung, like The Passion while some were prayers that
believers chant in church.

III. NATIONALISTIC/PROPAGANDA AND REVOLUTIONARY PERIOD (1864–

1896)
A. Characteristics
1. Planted seeds of nationalism in Filipinos
2. Language shifted from Spanish to Tagalog
3. Addressed the masses instead of the “intelligentsia”

B. Literary Forms
1. Propaganda Literature—Reformatory in objective
a. Political Essays— satires, editorials and news articles were written to attack
and expose the evils of Spanish rule.
i. Diariong Tagalog—founded by Marcelo H. Pilar
ii. La Solidaridad—editor-in-chief is Graciano Lopez Jaena
b. Political Novels. Noli Me Tangere and El Filibusterismo—Jose Rizal’s
masterpieces that paved the way to the revolution.

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2. Revolutionary Literature—more ‘propagandastic’ than literary as it is more
violent in nature and demanded complete independence for the country.

a. Political Essays—helped inflame the spirit of revolution

i. Kalayaan—newspaper of the society, edited by Emilio Jacinto

b. Poetry
i. True Decalogue—Apolinario Mabini
ii. Katapusang Hibik ng Pilipinas, Pag-ibig Sa Tinubuang Lupa —Andres
Bonifacio
iii. Liwanag at Dilim—Emilio Jacinto

PEN NAMES USED BY FILIPINO WRITERS BEFORE

WHY DID THEY USE
⭐ANDRES BONIFACIO – May Pag-asa, Agapito Bagumbayan PEN NAMES?
⭐ANTONIO LUNA – Taga-Ilog
⭐EMILIO AGUINALDO - Magdalo
⭐EMILIO JACINTO – Dimas Ilaw, Pingkian _____________________
⭐GRACIANO LOPEz JAENA – Diego, Laura _____________________
⭐JOSEMA. PANGANIBAN ¬– JoMaPa _____________________
_____________________
⭐JOSE RIZAL – Dimas alang, Laon laan
_____________________
⭐JUAN LUNA – Buan
_____________________
⭐MARCELO DEL PILAR – Plaridel, Dolores Manapat, Piping _____________________
Dilat _____________
⭐MARIANO PONCE – Tikbalang, Naning, (Satanas),
Kalipulako

IV. AMERICAN COLONIAL PERIOD (1910–1945)

Even if Philippine literature was in English, the preservation of the content for
Filipino experiences were achieved.

A. Period of Apprenticeship
1. Filipino Writers imitated English and American models
2. Poems written were amateurish and mushy, which phrasing and diction is
awkward and artificial.

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a. Short Stories
i. Dead Stars—Paz Marquez Benitez
ii. The Small Key—Paz Latorena
iii. Footnote to Youth—Jose Garcia Villa

b. Novels
i. Child of Sorrow—first novel in English by Zoilo Galang

The Small Key

Paz Latorena

It was very warm. The sun, up above a sky that was blue and tremendous and
beckoning to birds ever on the wing, shone bright as if determined to scorch
everything under heaven, even the low, square nipa house that stood in an
unashamed relief against the gray-green haze of grass and leaves.

It was lonely dwelling located far from its neighbors, which were huddled close
to one another as if for mutual comfort. It was flanked on both sides by tall,
slender bamboo tree which rustled plaintively under a gentle wind.

On the porch a woman past her early twenties stood regarding the scene before
her with eyes made incurious by its familiarity. All around her the land stretched
endlessly, it seemed, and vanished into the distance. There were dark,
newly plowed furrows where in due time timorous seedling would give rise to
sturdy stalks and golden grain, to a rippling yellow sea in the wind and sun
during harvest time. Promise of plenty and reward for hard toil! With a sigh of
discontent, however, the woman turned and entered a small dining room where
a man sat over a belated a midday meal.

Pedro Buhay, a prosperous farmer, looked up from his plate and smiled at his
wife as she stood framed by the doorway, the sunlight glinting on her dark hair,
which was drawn back, without relenting wave, from a rather prominent and
austere brow.

“Where are the shirts I ironed yesterday?” she asked as she approached the table.

“In my trunk, I think,” he answered.

“Some of them need darning,” and observing the empty plate, she added, “do you
want some more rice?”

“No,” hastily, “I am in a burry to get back. We must finish plowing the south field
today because tomorrow is Sunday.”

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Pedro pushed the chair back and stood up. Soledad began to pile the dirty
dishes one on top of the other.

“Here is the key to my trunk.” From the pocket of his khaki coat he pulled a
string of non-descript red which held together a big shiny key and another small,
rather rusty looking one.

With deliberate care he untied the knot and, detaching the big key, dropped the
small one back into his pocket. She watched him fixedly as he did this. The smile
left her face and a strange look came into her eyes as she took the big key
from him without a word. Together they left the dining room.

Out of the porch he put an arm around her shoulders and peered into her
shadowed face.

“You look pale and tired,” he remarked softly. “What have you been doing all
morning?”

“Nothing,” she said listlessly. “But the heat gives me a headache.”

“Then lie down and try to sleep while I am gone.” For a moment they looked deep
into each other’s eyes.

“It is really warm,” he continued. “I think I will take off my coat.”

He removed the garment absent mindedly and handed it to her. The stairs
creaked under his weight as he went down.

“Choleng,” he turned his head as he opened the gate, “I shall pass by Tia Maria’s
house and tell her to come. I may not return before dark.”

Soledad nodded. Her eyes followed her husband down the road, noting the fine
set of his head and shoulders, the case of his stride. A strange ache rose in her
throat.

She looked at the coat he had handed to her. It exuded a faint smell of his favorite
cigars, one of which he invariably smoked, after the day’s work, on his way home
from the fields. Mechanically, she began to fold the garment.

As she was doing so, s small object fell from the floor with a dull, metallic sound.
Soledad stooped down to pick it up. It was the small key! She stared at it in her
palm as if she had never seen it before. Her mouth was tightly drawn and for a
while she looked almost old.

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She passed into the small bedroom and tossed the coat carelessly on the back of
a chair. She opened the window and the early afternoon sunshine flooded in. On
a mat spread on the bamboo floor were some newly washed garments.

She began to fold them one by one in feverish haste, as if seeking in the task of
the moment in refuge from painful thoughts. But her eyes moved restlessly
around the room until they rested almost furtively on a small trunk that was half
concealed by a rolled mat in a dark corner.

It was a small old trunk, without anything on the outside that might arouse one’s
curiosity. But it held the things she had come to hate with unreasoning violence,
the things that were causing her so much unnecessary anguish and pain and
threatened to destroy all that was most beautiful between her and her husband!

Soledad came across a torn garment. She threaded a needle, but after a few
uneven stitches she pricked her finger and a crimson drop stained the white
garment. Then she saw she had been mending on the wrong side.

“What is the matter with me?” she asked herself aloud as she pulled the thread
with nervous and impatient fingers.

What did it matter if her husband chose to keep the clothes of his first wife?

“She is dead anyhow. She is dead,” she repeated to herself over and over again.

The sound of her own voice calmed her. She tried to thread the needle once more.
But she could not, not for the tears had come unbidden and completely blinded
her.

“My God,” she cried with a sob, “make me forget Indo’s face as he put the small
key back into his pocket.”

She brushed her tears with the sleeves of her camisa and abruptly stood up. The
heat was stifling, and the silence in the house was beginning to be unendurable.

She looked out of the window. She wondered what was keeping Tia Maria.
Perhaps Pedro had forgotten to pass by her house in his hurry. She could picture
him out there in the south field gazing far and wide at the newly plowed land
with no thought in his mind but of work, work. For to the people of the barrio
whose patron saint, San Isidro Labrador, smiled on them with benign eyes from
his crude altar in the little chapel up the hill, this season was a prolonged hour
during which they were blind and dead to everything but the demands of the
land.

During the next half hour Soledad wandered in and out of the rooms in effort to
seek escape from her own thoughts and to fight down an overpowering impulse.

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If Tia Maria would only come and talk to her to divert her thoughts to other
channels!

But the expression on her husband’s face as he put the small key back into his
pocket kept torturing her like a nightmare, goading beyond endurance. Then,
with all resistance to the impulse gone, she was kneeling before the small trunk.
With the long drawn breath she inserted the small key. There was an unpleasant
metallic sound, for the key had not been used for a long time and it was rusty.

That evening Pedro Buhay hurried home with the usual cigar dangling from his
mouth, pleased with himself and the tenants because the work in the south field
had been finished. Tia Maria met him at the gate and told him that Soledad was
in bed with a fever.

“I shall go to town and bring Doctor Santos,” he decided, his cool hand on his
wife’s brow.

Soledad opened her eyes.

“Don’t, Indo,” she begged with a vague terror in her eyes which he took for anxiety
for him because the town was pretty far and the road was dark and deserted by
that hour of the night. “I shall be alright tomorrow.”

Pedro returned an hour later, very tired and very worried. The doctor was not at
home but his wife had promised to give him Pedro’s message as soon as he came
in.

Tia Maria decide to remain for the night. But it was Pedro who stayed up to
watch the sick woman. He was puzzled and worried – more than he cared to
admit it. It was true that Soledad did not looked very well early that afternoon.
Yet, he thought, the fever was rather sudden. He was afraid it might be a
symptom of a serious illness.

Soledad was restless the whole night. She tossed from one side to another, but
toward morning she fell into some sort of troubled sleep. Pedro then lay down to
snatch a few winks.

He woke up to find the soft morning sunshine streaming through the half-open
window. He got up without making any noise. His wife was still asleep and now
breathing evenly. A sudden rush of tenderness came over him at the sight of her
– so slight, so frail.

Tia Maria was nowhere to be seen, but that did not bother him, for it was Sunday
and the work in the south field was finished. However, he missed the pleasant
aroma which came from the kitchen every time he had awakened early in the
morning.

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The kitchen was neat but cheerless, and an immediate search for wood brought
no results. So shouldering an ax, Pedro descended the rickety stairs that led to
the backyard.

The morning was clear and the breeze soft and cool. Pedro took in a deep breath
of air. It was good – it smelt of trees, of the ricefields, of the land he loved.

He found a pile of logs under the young mango tree near the house and began to
chop. He swung the ax with rapid clean sweeps, enjoying the feel of the smooth
wooden handle in his palms.

As he stopped for a while to mop his brow, his eyes caught the remnants of a
smudge that had been built in the backyard.

“Ah!” he muttered to himself. “She swept the yard yesterday after I left her. That,
coupled with the heat, must have given her a headache and then the fever.”

The morning breeze stirred the ashes and a piece of white cloth fluttered into
view.

Pedro dropped his ax. It was a half-burn panuelo. Somebody had been burning
clothes. He examined the slightly ruined garment closely. A puzzled expression
came into his eyes. First it was doubt groping for truth, then amazement, and
finally agonized incredulity passed across his face. He almost ran back to the
house. In three strides he was upstairs. He found his coat hanging from the back
of a chair. Cautiously he entered the room. The heavy breathing of his wife told
him that she was still asleep. As he stood by the small trunk, a vague distaste to
open it assailed to him. Surely he must be mistaken. She could not have done
it, she could not have been that… that foolish.

Resolutely he opened the trunk. It was empty.

It was nearly noon when the doctor arrived. He felt Soledad’s pulse and asked
question which she answered in monosyllables. Pedro stood by listening to the
whole procedure with an inscrutable expression on his face. He had the same
expression when the doctor told him that nothing was really wrong with his wife
although she seemed to be worried about something. The physician merely
prescribed a day of complete rest.

Pedro lingered on the porch after the doctor left. He was trying not to be angry
with his wife. He hoped it would be just an interlude that could be recalled
without bitterness. She would explain sooner or later, she would be repentant,
perhaps she would even listen and eventually forgive her, for she was young and
he loved her. But somehow he knew that this incident would always remain a
shadow in their lives.

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B. Period of Emergence
1. Highly influenced by Western literary trends like Romanticism and Realism.
a. Short Stories—most prevalent literary form
i. Jose Garcia Villa —earned the international title “Poet of the Century”

Poetry
- Noteworthy names in this field, they wrote in free verse, in odes and
sonnets and in any other types. Poetry was original, spontaneous, competently
written and later, incorporated social consciousness.

Short Story
–1925 to 1941, poetry and short story flourished during these times.

Publications
– The Philippine Free Press provided the first incentives to Filipino
writers in English by offering prizes to Filipino writers in English by offering
prizes to worthwhile contribution. Other publication followed suit.

Drama
– 1925 to 1941, drama during this period did not reach the heights attained
by the novel or the short story.

Literary Styles and Themes

By this time, Filipino writers had acquired the mastery of English writing. They
now confidently and competently wrote on a lot of subjects although the old-
time favorites of love and youth persisted. They went into all forms of writing
like the novel and the drama.

V. JAPANESE OCCUPATION (1942–1960)

a. War Years (1942–1944)

Philippine Literature was interrupted in its development when the Philippines

was again conquered by another foreign country, Japan. Philippine literature in
English were put into halt. Except for the TRIBUNE and the PHILIPPINE
REVIEW, almost all newspapers in English were stopped by the Japanese. The
weekly Liwayway was placed under strict surveillance until it was managed by a
Japanese named Ishiwara.

Haiku –A poem of free verse that the Japanese liked. It was made up of 17
syllables divided into three lines. The first line had 5 syllables, the second had 7

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syllables, and the third had 5. It is allegorical in meaning. It is short and covers
a wide scope in meaning.

Tanaga - It is like the Haiku since it is short but it had measure and rhyme.
Each line had 7 syllables and is also allegorical in meaning.

Filipino Drama - The drama experienced a lull during the Japanese period
because movie houses showing American films were closed. The big movie
houses were just made to show stage shows. Many of the plays were
reproductions of English plays to Tagalog.

1. Tagalog poets broke away from the Balagtas tradition and instead wrote in
simple language and free verse

2. Fiction prevailed over poetry

a. 25 Pinakambuting Maikling Kathang Pilipino (1943)—compilation of the short

story contest by the military government
i. Suyuan sa Tubigan—Macario Pineda
ii. Lupang Tinubuan—Narciso Reyes
iii. Uhaw ang Tigang na Lupa—Liwayway Arceo

b. Period of Maturity and Originality (1945–1960)

1. Bountiful harvest in poetry, fiction, drama and essay
2. Filipino writers mastered English and familiarized themselves with diverse
techniques.
3. Literary “giants” appeared

- Palanca Awards for Literature

i. Jose Garcia Villa v. Gregorio Brillantes
ii. Nick Joaquin vi. Gilda Cordero Fernando
iii. NVM Gonzales vii. Bienvenido Santos

- National Artist Awards

i. Jose Garcia Villa ii. Nick Joaquin

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 The Martyr
Nick Joaquin

Being in love means never having to say you’re sorry

After all, at some point in your life
That love was the most important thing to you,
That love might be the one that you hoped would last forever,
That love made you believe that destiny does exist,
And that love made you question,
Why you were afraid to fall in love in the first place.

At that time in your life,

Everything just seemed so perfect,
Everything seemed so beautiful,
Everything seemed to glow for you,
And you were my everything.

I wouldn't even think twice about sacrificing my own happiness for yours,
I was even willing to bare up this walled but crumpled heart of mine,
Just so I could be with you.
All I ever did was care for you.
All I ever did was to make you happy.
And all I ever did was love you.

Being in love means never having to say you’re sorry

But I needed to ask forgiveness from the one who was hurt the most…
Myself.

VI. CONTEMPORARY/MODERN PERIOD (1960–PRESENT)

A. Characteristics
1. Martial Law repressed and curtailed human rights, including freedom of the
press
2. Writers symbolisms and allegories to drive home their message, at the face of
censorship
3. Theater was used as a vehicle for protest, such as the PETA (Phil. Educational
Theater Association) and UP Theater.
4. From the eighties onward, writers continue to show dynamism and innovation

Onomatopoeia – the use of words that imitate the sounds associated with the
objects or actions they refer to.

Messages in Poetry – the idea about life that a poet writes about is called the
theme or message of the poem.

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Free Verse – a poem that has no regular rhyme or rhythm. Cause and Effect
Relationship

Adjectives – is a word that describes, limits, or points out a noun.

Period of Activism
The irreverence for the poor reached its peak during this period of the mass
revolution. It was also during this period that Bomba films that discredit our
ways as Filipinos started to come out. Many young people became activists to
ask for changes in the government.

Bomba films during Period of Activism

In the expression of this desire for change, keen were the writings of some youth
who were fired with nationalism in order to emphasize the importance of their
petitions. Many young activists were imprisoned in military camps together with
rebel writers. As early as this period of history we can say that many of those
writers who were imprisoned were true nationalists and heroes of their time.

The literature of the activists reached a point where they stated boldly what
should be done to effect these changes. Some of those who rallied to this
revolutionary form of literature were Rolando Tinio, Rogelio Mangahas, Efren
Abueg, Rio Alma, and Clemente Bautista.

Period of the New Society

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

Almost all themes in most writings dealt with the development or progress of the
country –like the Green Revolution, family planning, proper nutrition,
environment, drug addiction and pollution. The New Society tried to stop
pornography or those writings giving bad influences on the morals of the people.

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All school newspapers were temporarily stopped and so with school
organizations.

The military government established a new office called the Ministry of Public
Affairs that supervised the newspapers, books and other publications. The
weekly publications like KISLAP, and LIWAYWAY helped a lot in the development
of literature. These became outlets for our writers to publish many of their works.

Sample of Liwayway and Kislap publication.

Period of Third Republic

A historian called this the Third Republic. The First Republic he claimed was
during the Philippine Republic of Emilio Aguinaldo when we first got our
independence form the Spaniards on June 12, 1898. The Second was when the
Americans granted us our independence on July 4, 1946. This period, January
2, 1981, was the Third Republic when we were freed from Military Rule.

During this period, it cannot be denied that many people seethed with rebellion
and protest because of the continued oppression and suppression. We can say
that Philippine literature, in spite of the many restrictions, still surreptitiously
retained its luster.

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Many Filipino songs dealt with themes that were really true-to-life like those of
grief, poverty, aspirations for freedom, love of God, of country and of fellowmen.
Freddie Aguilar revived the song BAYAN KO which was written by Jose Corazon
de Jesus and C. de Guzman during the American period.

BAYAN KO

Ang bayan kong Pilipinas

Lupain ng ginto't bulaklak
Pag-ibig na sa kanyang palad
Nag-alay ng ganda't dilag

At sa kanyang yumi at ganda

Dayuhan ay nahalina
Bayan ko, binihag ka
Nasadlak sa dusa

Ibon mang may layang lumipad

Kulungin mo at umiiyak
Bayan pa kayang sakdal-dilag
Ang 'di magnasang makaalpas

Pilipinas kong minumutya

Pugad ng luha at dalita
Aking adhika
Makita kang sakdal laya

The yearly Festival of Filipino Films continued to be held during this period. The
people’s love for sex films also was unabated. Many producers took advantage of
this at the expense of public morality.

Rebirth of Freedom

History took another twist. Once more, the Filipino people regained their
independence which they lost twenty years ago. In the span of four days form
February 21-25, 1986, the so-called People Power (Lakas ng Bayan) prevailed.
Together, the people barricaded the streets petitioning the government for
changes and reforms.

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Newspapers and other Publications
Newspapers which were once branded crony newspapers became instant
opposition papers overnight. This was true of BULLETIN TODAY which became
the opposition paper.

Books
The Philippine revolution of 1986 and the fire of its spirit that will carry the
Filipinos through another epoch in Philippine history is still being documented
just as they have been in the countless millions who participated in body and
spirit in its realization.

TRY ME!
Explain in three (3) sentences why literature is considered as the story of a
man? (10pts.)

______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________
______________________________________________________________________________

COMPREHENSION CHECK!
Directions: Create a timetable showing how the literatures on each literary
period flourished. State also the distinguished characteristic/s of each period.
The first one is done for you. (50pts.)

Period Literary Forms

Pre-Colonial Period Oral Literature

-riddles
The first period of the Philippine literary history -chants
is the longest. Long time before the Spaniards -proverbs
and other foreigners landed on Philippine -tanaga
shores, our forefathers already had their own
literature stamped in the history of our race Folktales
Folksongs
Epics

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Spanish Period

Nationalistic Period

American Period

Japanese Period

Contemporary Period

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CHECKPOINT!
Directions: Read each statement and identify what is being described by writing
the letter of the correct answer before the number. Choose your answer from the
box below.

a. Pre- Colonial Period e. Japanese Occupation

b. Spanish Regime f. Contemporary Period

c. Nationalistic Period d. American Period

1. The topics covered by the literary works include religion, specifically

Christianity.

2. Writers during this period used their own pen names.

3. Ancient literatures were written on the perishable materials like dried

leaves, bamboo cylinder, and bark of the trees.

4. A period where the so-called literary ‘giants’ appeared.

5. Philippine Literature was interrupted in its development when the

Philippines was again conquered by another foreign country. Philippine
literature in English were put into halt.

6. Poems during this period written were amateurish and mushy, which
phrasing and diction is awkward and artificial.

7. Martial Law repressed and curtailed human rights, including freedom of

the press.

8. The literature of the activists reached a point where they stated boldly what
should be done to effect these changes.

9. Many Filipino songs dealt with themes that were really true-to-life like
those of grief, poverty, aspirations for freedom, love of God, of country and
of fellowmen.

10. Literary works in this period have two distinct classifications: religious and
secular.

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 11. In this period, Andres Bonicaio wrote his very own, Katapusang Hibik ng
Pilipinas.

12. The drama experienced a lull during this period because movie houses
showing American films were closed.

13. Literatures were handed down to us through the word of mouth.

14. The start of the deprivation of the indigenous Philippine literature.

15. Theater was used as a vehicle for protest, such as the PETA (Phil.
Educational Theater Association) and UP Theater.

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Contemplative Learning Sheet

Name: _______________________________Grade and Sec.______________

What I like the most What I need to What I want to learn

about the lesson understand more in the connected to the
lesson lesson

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REFERENCES

Ang, J.G. (2016) Literatura: 21st Century Philippine and World Literature. Mindshapers
Co. Inc, Intramuros Manila

Uychoco, M. A. (2016). 21ST CENTURY LITERATURE FROM THE PHILIPPINES AND

THE WORLD Quezon City, Manila, Philippines: Rex Bookstore.

https://www.coursehero.com/file/23983484/Philippine-Literary-Periodsdoc/

https://anelepapers.wordpress.com/2017/01/04/representative-
compositions-through-the-years/

https://www.slideshare.net/josephestroga/philippine-literature-the-
contemporary-period

https://infogram.com/different-periods-of-philippine-literature-
1g0q3plyvx5n21g

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