Critical Analysis: Research on Philippine Literature: Foundation of

Literature in the Philippines by Vichara Sar

Vichara Sar's book "Research on Philippine Literature: Foundation of Literature in the

Philippines" traces the origins of Philippine literature back to precolonial periods. It draws
attention to the value of folktales and oral literature that have been told and passed down
through the generations.
The study highlights the wide variety of forms and genres found in Philippine
literature, including age-old poetic forms like the tanaga, haiku, and diona. It also
emphasizes how the colonial legacies of Europe, North America, and Asia shaped the
literature of the nation, adding to its diversity and depth.

This study refreshed my knowledge about the origins of Philippine literature, which
was discovered in the pre-colonial period, when stories from oral literature and folktales
were passed down orally from generation to generation. Personally, I can relate this claim to
my experiences with my grandparents sharing stories that often included fantastical animals
and supernatural events. It shows me how Filipino people acquire polytheism and animism
through literature. Moreover, I am stunned at how Filipino people had their own unique
stories and myths even before the Spaniards invaded the Philippines.

Some research proved that prior to the arrival of the Spaniards, Filipino people
already reflected the country’s indigenous culture and traditions by utilising literature, and
upon further reading, I stumbled upon a study claiming that natives of Manila and other
local communities in the Philippines used to write on bamboo and areca palm. They used
knives to inscribe the old Tagalog script. The literature preserved was restricted to the
seventeen basic symbols of the language. With only three vowels and consonantal symbols
with predetermined, inherent sound, the literature passed down was 'raw' and required to
be developed.

A study also proved that the Tagalog language script, which was once employed to
preserve and pass down literature, was restricted to a diacritical mark or "kudlit" that
altered pronunciation and writing. The dot, line, or arrowhead was either put above or
below the symbol. This implies that the literature thus maintained has played a critical role
in public education and the emergence of the educated class.
According to study, there were four different types of pre-colonial Philippine
literature; 1) Oral literature, which is literature that is transmitted orally. Riddles (bugtong)
are among them as examples. 2) Folk Songs: Folk lyrics that depict people's aspirations,
goals, lives, and loves are known as folk songs. Typically, these are loud, monotonous,
didactic, and unsophisticated. 3) Fables, myths, legends, and fantasies are examples of folk
tales. 4) Epics are "sustained narratives based on oral tradition" that were written in the
Philippines during the pre-colonial period. Kudaman, Darangen, Hinilawod, and Lam-ang are
a few examples of them.
Here are some of the most interesting poetic and narrative forms of early Philippine
literature:
 o Aliguyon, also known as the Hudhud of the Ifugaos, recounts his adventures
as he confronts his arch adversary, Pambukhayon, among rice fields and
terraces, and encourages his people to be faithful and learn the wisdom of
fighting and peacemaking during harvest seasons.
o Biag ni Lam-ang (Life of Lamang) narrates the story of the prodigious epic
hero Lam-ang, who demonstrates amazing abilities at a young age. At nine
months old, he is able to go to war in search of his father's killers. Then, when
searching for his lady love, Ines Kannoyan, he gets swallowed by a large fish,
but his rooster and friends save his life.
o Labaw Donggon tells the story of Datu Paubari, the son of a deity Alunsina,
and his love affairs. The polygamous hero fights the massive monster
Manaluntad for Abyang Ginbitinan's hand, then Sikay Padalogdog, the giant
with a hundred limbs, for Abyang Doronoon, and finally the lord of darkness,
Saragnayan, for Nagmalitong Yawa Sinagmaling Diwata.
o The Agyu, also known as Olahing, is a three-part epic that begins with the
pahmara (invocation), followed by the kepu'unpuun (a historical narration),
and the sengedurog (a standalone incident). All three parts follow the hero's
exploits as he leads his people, who have been driven out of their home, to
Nalandangan, a utopian land free of landgrabbers and oppressive forces.
o Sandayo narrates the narrative of the hero of the same name, who was born
under exceptional circumstances, falling out of his mother's hair while she
was combing it on the ninth stroke. He then leads his people in the struggle
against invaders to their land and waterways.
o Other recognized epics include the Bantugan of Maranao, the Darangen, a
Muslim epic, the Kudaman of Palawan, which was transcribed by Dr. Nicole
McDonald, the Alim of Ifugao, the Hinilawod of Panay, the Ibalon of Bikol,
and the Tuwaang of the Manobo, which was recorded by anthropologist E.
Arsenio Manuel. The Tagalog have no known epic, although it is widely
assumed that the narrative of Bernardo Carpio, a man imprisoned by the
massive mountains of Montalban, is their epic.

According to literary expert Dr. Resil Mojares, the Filipino novel’s generic beginnings
can be traced back to epic storytelling. These data simply show that Filipino people had their
own way of acknowledging literature, not just for entertainment but also to describe a life
worth sharing. It comes to mind how Filipino people gave value to learning good deeds
through literature in the pre-colonial period.

When the Spanish occupied the Philippines, there were two separate types of
literature: religious and secular. Influences given by the Spanish people alter different things
with the Filipino ways and culture, for during this time, Spanish became the primary means
of communication, religious lyrics were commonly used in both Spanish and Tagalog, and
secular or "non-religious" forms emerged, paving the way for awit, korido, and prose
storytelling.

The Philippines' literary legacy developed as a result of the introduction of

Christianity and the Latin alphabet by Spanish colonists in the sixteenth century. Research
shows that Francisco Balagtas' Spanish-language Tagalog poem "Florante at Laura" is among
the earliest pieces of literature known to exist in the Philippines.At some point, I see this
period as negatively alarming because of how Spaniards knowingly or unknowingly slowly
eradicated original Filipino culture and literature. However, I am astounded at how Filipino
people dealt with these influences and challenges, considering Spanish colonialism gave
vernacular and Filipino literature new life. A study said that Spain instilled liberal principles
and a sense of internationalism in the Filipino people, as seen by the popularity of chivalric
heroic ballads called “awit” and religious poems called “corridos.” During the early stages of
colonisation, religious literature, saint biographies, and folktales became the primary
sources of vernacular literature.

According to research, Philippine literature in Spanish can be classified into three

stages or phases. The first phase occurred when religious works were distributed around the
country as directed by the colonial masters. In the early seventeenth century, Tomas Pinpin
produced a book attempting to convert Spanish into the indigenous Tagalog language. This
paved the path for Filipinos to comprehend and understand colonialism practices. This little
event signaled the beginning of increased Spanish learning and use by local writers and
authors. By the early 1800s, many writers saw the Philippines as an independent entity from
Spain, and they used their writings to express their thoughts and ideals. Some well-known
works of the time included “El Paranaso Filipino” and “Mare Magnum”.
Native Filipino thinkers created and preserved Philippine literature. Isidro Marfori,
Enrique Fernandez Lumba, Cecilio Apostol, and Fernando Ma. Guerrero, Jesús Balmori,
Flavio Zaragoza Cano, and Francisco Zaragoza contributed significantly to preserving oral
histories. Writers like Castrillo, Fernandez, Rivera, Licsi, and Estrada also dedicated a
significant portion of their lives to documenting ‘by-word-of-mouth’ hand-downs. Columns
and articles in newspapers such as “El Renacimiento”, “La Vanguardia”, “El Pueblo de Iloilo”,
“La Democracia”, and “El Tiempo” preserved the legacy in Spanish. Strong nationalistic and
patriotic ideals began to spread throughout the Philippines in the latter part of the
nineteenth century, and many writers and journals of the time voiced a vision of a free
Philippines separate from Spain. It was strange that nationalism was promoted more
through the Spanish language than the native vernacular tongue. National heroes such as
Jose Rizal, Graciano Lopez Jaena, Marcelo H. Del Pilar, and Pedro Paterno rose to
prominence during this era (1870-1903), contributing to key Spanish literary work in the
Philippines through historical papers, revolutionary propaganda, and nationalist essays.
Orlando Agnes’ private publications ‘”Plaridel”’ and the first Spanish newspaper ‘”El Boletín
de Cebú”’ and ‘”Flora Sentino”’ helped preserve Philippine Spanish literature.

These claims gave me a moment of realisation on how flexible and creative Filipino
people are when elevating circumstances and making new things from them. Spanish
people may claim they altered Filipino minds, traditions, and literature, but it also gave way
to more writers and authors to express their hearts and minds.

I strongly agree that the American Period paved the way for a new and competing
Filipino people when it comes to literature. A study highlighted two important advances in
education and culture that fueled Philippine literary creativity during the American Period.
The first is to provide free public education to all children of school age, and the second is to
use English as the medium of instruction at all levels of education in public schools.
 Free public education makes knowledge and information more accessible to a wider
range of Filipinos. Those who received this education in college were able to raise their
social status and join a large number of educated people who became members of the
country's middle class.

The utilization of English as a medium of teaching exposed Filipinos to Anglo-

American modes of thought, culture, and life styles, which would become embedded not
just in the literature produced but also in the psyche of the country's educated class. This
educated class would provide the foundation for a thriving Philippine English literature.
Despite the short-lived American occupation of the Philippines, the country drew
inspiration from Western culture, and Filipino writers soon replicated English and American
literary styles.

According to research, the pace and progress of Filipino literature in English, as well
as the development of Philippine literature in general, were halted during the Japanese
period. Except for the Tribune and the Philippine Review, all publications were banned by
the Japanese. During the Japanese occupation, Philippine literature in English was
discontinued, and writers switched to Filipino. The Japanese rulers, who despise Americans,
tried everything possible to divert Filipino support away from them. They lavishly
compensated the Filipinos who were loyal to them.

In prose writing, the weekly Liwayway Magazine, managed by a Japanese named

Ishiwara, was subject to tight control. Despite being forced onto the Filipinos, the Japanese
language, Nippongo, was introduced but not well received. The limitation on authoring
literary pieces in English provided a break for Filipino literature. Many Filipino authors wrote
plays, poems, short tales, and other works. In Tagalog and other vernacular dialects. Topics
and subjects tended to revolve around life in the provinces in order to avoid Japanese
authority and censorship.
Even though Japanese people harshly took over Filipino literature, at some point,
this period gave Tagalog writers an opportunity to excel and express themselves in a purely
Filipino way.

Philippine literature during the contemporary period, also known as the post-World
War II period, is distinguished by a wide range of styles, genres, and themes that represent
the intricacies of modern Filipino life. Contemporary Philippine literature is written in a
number of languages, including Filipino (Tagalog), English, and several regional languages.
This linguistic diversity reflects the Philippines' multiculturalism and multilingualism. Many
works from this period address social reality and themes such as poverty, corruption,
human rights violations, and environmental destruction. Writers frequently utilise literature
to analyse societal issues and push for change. Many modern works show the influence of
Western literature, notably American literature. This impact stems from the Philippines'
past as a former American colony, as well as the West's continued dominance in global
media.
Contemporary Philippine literature frequently examines themes of identity, such as
the ambiguities of being Filipino, the experience of diaspora and migration, and the conflict
between tradition and progress. Several Filipino writers, including José Garcia Villa, Nick
Joaquin, F. Sionil José, and Miguel Syjuco, achieved international fame during this time.
With the introduction of the internet and social media, contemporary Philippine literature
has evolved to encompass digital literature, such as online literary journals, blogs, and social
media poetry.
In summary, contemporary Philippine literature is a vibrant and diverse field,
reflecting the complexities of modern Filipino life and engaging with both local and global
literary trends.

As a Filipino, I completely agree with Vichara Sar’s two ideas in this study. One,
Language and Translation: The study analyses the function of language in Philippine
literature, namely the usage of Filipino (Tagalog) and other regional languages. It
investigates the difficulties and importance of translating Philippine literary works into other
languages for a larger readership. Two, Literary Criticism and Scholarship: The research
focuses on the evolution of literary criticism and scholarship in the Philippines. It discusses
notable critics, theories, and methodologies for analysing and interpreting Philippine literary
texts.
Given this, we, the Filipino people, must value our own writing and encourage local
writers who work tirelessly to improve and elevate Philippine literature.

References:
https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/literary-
arts/early-philippine-literature/
https://newspapers.ph/2021/11/literary-periods-in-philippine-literature-6-major-literary-
periods-in-ph/
https://ncca.gov.ph/about-ncca-3/subcommissions/subcommission-on-the-arts-sca/literary-
arts/philippine-literature-during-the-american-period/
https://salirickandres.altervista.org/japanese-period/