SOUTHERN BAPTIST COLLEGE, INC.

HIGH SCHOOL

Quarter: One Week: 1 Date: August 30, 2023

Grade: 12 Subject: 21st Cen. Lit. Strand/s: ABM/TVL
Teacher: Mrs. Marilyn P. Tungala

LESSON 1: Philippine Literature and Texts (Pre-colonial Times)

INTRODUCTION

Philippine literature is as rich and diverse as the 7500 plus islands that make
up our archipelago. This is not surprising considering that we have 183 living
languages (ethnologue.com) across 17 regions comprised of 82 provinces. One can
only imagine the many forms of artistic communication (oral or written) that have
been passed on to and through generations, communities, and groups. Then and now,
literature in the Philippines have come in various genres (forms) and have been
appreciated and analyzed for their forms, elements, structures, and traditions.

The origin of Philippine literature can only be traced by exploring its evolution
from pre-colonial up to the present. Thus, studying the past becomes imperative in
understanding the literature of the present. Different genres that appeared from each
period seem to reflect the place, language, culture, social and ethnic dimensions of
literature produced. The nature and essence of literature has evolved over time.

Traditionally, literature was strictly viewed as any form of written works

especially during the 18th century. Today, its definition and scope can be considered
more restrictive for there are certain standards set by some critiques before a work
can be considered as a body of literature. Among the common words used by scholars
and
other sources that are associated to literature are excellence, expression, experience,
artistry, and imagination. Its connection to human life and experiences, wherein
audience can easily relate with, is the major characteristic of literature. Emerging
habitually into quality literary works will help us gain better understanding of people,
society, and culture.

Philippine literature in the 21st century has a short history; however, much has
already been written about its writers. Even though Jose Rizal’s Noli Me Tangere casts
a long shadow on Philippine literature, today’s literary scene is quite different from
what it was in the past. In fact, it has developed into ways that can surprise English
language teachers and students alike as it has emerged to be flexible, innovative
literature that has answered literary and educational debates about language.

Literature is the perfect melting pot of the different disciplines you have learned
in your school previously, such as history, science, values, and languages. This is
because the literary selections in this unit have been carefully chosen to encapsulate
the message of Rizal’s famous quotation: looking back to look forward. Through the
literary texts that you will be reading, you will get to know yourself, the society you live
in, and the world you will be moving in a lot better. The knowledge you will unearth
and explore from this subject will teach you how to be a better Filipino – as a holistic
human being and, more importantly, as an agent of compassion to the rest of the
world. This way, you will use the past that literature has narrated for you as the main
weapon for your successful future.

You will get a glimpse of our pre-colonial heritage. You will learn that before the
Spanish had colonized the country, Filipinos already enjoyed a variety of literature.
These varieties changed during the Spanish colonization as literature became more
religious and God-centered. These different types of literature will help you
understand just how rich our local indigenous literature is and how it speaks well
about the life that was lived before in this archipelago.
 Before the Philippines was colonized, it was already brimming with a rich
tradition of oral literature. Early Filipinos weaved together countless myths and
legends to explain certain phenomenon in life but because paper was not invented yet,
many tales were not preserved and have vanished rom local knowledge. Most of what
have been transcribed now are taken from oral literature, which means that these
stories have been passed on from one generation to another.
Some of these pre-colonial literary pieces showcased in traditional narratives,
speeches and songs are tigmo in Cebuano, bugtong in Tagalog, patototdon in Bicol
and paktakon in Ilonggo.

Literary Forms during the Pre-colonial Period

1. Tales – are stories of origin for certain places, their names and their creation.
These are also known as myths and legends. They usually are said to explain certain
events or phenomena in our ancestor’s lives that cannot be explained by the limited
practical kind of science they knew back then.
a. Myths – a narrative that describes or portrays in symbolic language the origin
of the basic elements and assumptions of a culture (e.g. how the world began, how
human and animals were created, how certain customs, gestures, or forms of human
activities originated.

Example:
 Why there is a High Tide During Full Moon (Ibanag)
 How the Moon and the Stars Came To Be (Bukidnon-Mindanao)
b. Legends – traditional narratives or collection of related narratives, popularly
regarded as historically factual but actually a mixture of fact and fiction. These are
stories about real people who are famous for doing something brave or extraordinary.
Every time the story was told, it became more exaggerated and so it is now difficult to
tell how much of the story is really true. Example: Bernardio Carpio
2. Proverbs – are practical observations and philosophy of everyday life that are
written usually in rhyming scheme. It is obviously meant to entertain while teaching
the basic skills in surviving local life. In Filipino, these are called salawikain.
Examples:
 A broom is sturdy because its strands are tightly bound.
(Matibay ang walis, palibhasa’y magkabigkis.)
People gain strength by standing together.
 It is hard to wake up someone who is pretending to be asleep.
(Mahirap gisingin ang nagtutulog-tulugan.)
While it is easy to tell people something they do not know, it is much harder if
they are willfully choosing not to see what is before them.
3. Riddles (Bugtong/Palaisipan) - are like proverbs with one main difference:
they demand an answer and are used to test the wits of those who are listening to
them. It is a battle of wits to see who is the smartest. Filipino riddles have a flippant
nature – they seem to be referring to something laughable, but in reality the answer is
more serious than expected. It involves reference to one or more images that
symbolizes the characteristics of an unknown object that is to be guessed. Can you
guess these riddles?
Examples:
Heto na si Kaka, bubuka-bukaka. (Here comes Kaka, walking with an open leg.)
Answer: Gunting (Scissors)
Sa araw ay bubong, sa gabi ay dahon. (Roll in the morning, leaf in the
afternoon.)
Answer: Banig (mat)
4. Folksongs – are beautiful songs that are informal expressions of our ancestors’
experiences in life.

Types of Folksongs Based on Functions:

 Ballad – narrative song/s that tell a story. (ex. Ati Cu Pung Singsing –the song is a
request from a lady who lost her ring given by her mother. She will give her heart
to the man who can find the beloved ring.)
 Lullabye –songs for rocking a baby to sleep. (ex. Ili-ili Tulog Anay)
 Songs of Friendship and Conviviality – drinking songs, humorous songs, welcoming
songs. (ex. Salidummay, Condansoy)
 Love and Courtship Songs – love songs. It can be parental or romantic love. (ex.
Pamulinawen – a song about a man courting and pledging his love to a beautiful
girl named Pamulinawen.
 Ritual or Religious Songs – used for worship or marking rites or ceremonies. (ex.
Ka Sadya ning Taknaha)
5. Epics – are long-winded poems about a hero and his adventures and
misadventures. It usually tells about a hero who is born with all the pleasing qualities
that your ancestors like in a person and who also has superhuman capabilities; a
male hero who fell in love with a beautiful young maiden and will go to battle to fight
for his love. It sometimes introduces supernatural elements to showcase the strength
and what the hero is capable of.
Example:
Ibalon of Bikol, Darangan – a Muslim epic, Bantugan of Maranao and Hinilawod
of Panay

A. Make-Meaning
ACTIVITY

A. Let’s read this known story with a twist.

The Hinilawod

When the goddess of the eastern sky Alunsina (also known as Laun Sina, “The
Unmarried One”) reached maidenhood, the king of the gods, Kaptan, decreed that she
should marry. All the unmarried gods of the different domains of the universe tried to
win her hand to no avail. She chose to marry a mortal, Datu Paubari, the mighty ruler
of Halawod.
Her decision angered her suitors. They plotted to bring harm to the newlyweds.
A meeting of the council of the gods was called by Maklium-sa-t’wan, the god of the
plains, where a decision by those present was made to destroy Halawod by flood.

Alunsina and Paubari escaped harm through the assistance of Suklang

Malayon, the goddess and the guardian of happy homes and sister of Alunsina, who
learned of the evil plot and warned the two so they were able to seek refuge on higher
ground.
After the flood waters subsided, Paubari and Alunsina returned to the plains secretly.
They settled near the mouth of the Halawod river.

Several months later, Alunsina became pregnant and told Paubari to prepare
the siklot, things necessary for childbirth. She delivered a set of triplets and
summoned the high priest Bungot-Banwa to perform the rites of the gods of Mount
Madya-as (the mountain abode of the gods) to ensure the good health of the children.
The high priest promptly made an altar and burned some alanghiran fronds and a
pinch of kamangyan. When the ceremony was over he opened the window of the north
side of the room and a cold northernly wind came in and suddenly, the three infants
were transformed into strong, handsome young men.
Labaw Donggon, the eldest of the three, asked his mother to prepare a magic
cape, hat, belt, and kampilan (sword) for he heard a place called Handug where a
beautiful maiden named Angoy Ginbitinan lived.
The journey took several days. He walked across plains and valleys, climbed up
mountains until he reached the mouth of Halawod river. When he finally met the
maiden’s father and asked for her hand in marriage, the father asked him to fight the
monster Manalintad as part of his dowry. He went off to confront the monster and
with the help of his magic belt, Labaw Donggon killed the monster and to prove his
feat he brought to Anggoy Ginbitinan’s father the monster’s tail.
After the wedding, Labaw Donggon proceeded home with his new bride. Along
the way they met a group of young men who told him that they were on their way to
Tarambang Burok to win the hand of Abyang Duruunun, sister of Sumpoy, the lord of
the underworld and whose beauty was legendary.
Labaw Donggon and his bride continued their journey home. The moment they
arrived home, Labaw Donggon told his mother to take care of his wife because he is
taking another quest, this time he was going to Tarambang Burok.
Before he can get to the place, he has to pass to a ridge guarded by a giant
named Sikay Padalogdog who has hundred arms. The giant would not allow Labaw
Donggon to go through without a fight. However, Sikay Padalogdog was no match to
Labaw Donggon’s prowess and skill in fighting so he gave up and allowed him to
continue.
Labaw Donggon won the hand of Abyang Duruunun and also took her home.
Before he went on a long journey, this time it is to Gadlum to ask for the hand of
Malitong Yawa Sinagmaling Diwata who is the young bride of Saragnayan, the lord of
darkness.
This trip required him to use his biday nga inagta (black coat) on which he
sailed across the seas for many months, went across regions of the clouds, and passed
the land of stones until finally he reached the shores of Tulogmatian which was the
seaside fortress of Saragnayan. The moment he set foot on the ground Saragnayan
asked him, “Who are you and why are you here?”
To which he answered, “I am Labaw Donggon , son of Datu Paubari and
goddess Alunsina of Halawod. I came for the beautiful Malitong Yawa Sinagmaling
Diwata.”
Saragnayan laughed. He told Labaw Donggon that what he wished for was
impossible to grant because she was his wife. Labaw Donggon then challenged
Saragnayan to a duel saying that whoever wins will have her.
The challenge was accepted and they started fighting. Labaw Donggon
submerged Saragnayan under water fro seven years, but when he let go of him,
Saragnayan was still alive. The latter uprooted a coconut tree and started beating
Labaw Donggon with it. He survived the beating but was not able to surpass the
powers of Saragnayan’s pamlang (amulet) and eventually he gave up and was
imprisoned by Saragnayan in his house.
Back home, Anggoy Ginbitinan and Abyang Duruunun both delivered sons.
Anggoy Ginbitinan’s child was named Aso Mangga and Abyang Duruunun’s child was
called Abyang Baranugon.
Only a few days after they were born, Aso Mangga and Abyang Baranugon
embarked to look for their father. They rode their sailboats through the region of
eternal darkness, passed the region of the clouds, and the land of the stones, finally
reaching Saragyan’s home. Saragnayan noticed that Abyang Baranugon’s umbilical
cord have not yet been removed, he laughed and told the child to go home to his
mother.
Abyang Baranugon was slighted by the remarks and immediately challenged
Saragnayan to a duel. They fought and Abyang Baranugon defeated Saragnayan and
won his father’s freedom.
Labaw Donggon’s defeat and subsequent imprisonment by the Lord of Darkness
also angered his brothers. Humadapnon was so enraged that he swore to the gods of
Madya-as that he would wreak revenge on all of Saraganayan’s kinsmen and followers.
Humadapnon prepared to go to Saragnayan’s domain. He employed the aid of
Buyong Matanayon of Mount Mtiula who was well-known for his skills in
swordsmanship. For their journey they rode on the sailboat called biday nga rumba-
rumba. They travelled through the region of the clouds, passed the region of eternal
darkness and ended up in a place called Tarambang Buriraw. In this place was a ridge
called Talagas Kutig-tang where a seductive sorceress named Piganun lived.
Piganun changed herself to a beautiful maiden and captured the heart of
Humadapnon. Buyong Matanayon begged with Humadapnon to leave the place with
him but the latter refused. After several months passed, Buyong Matanayon
remembered that they have brought with them some ginger. One evening at dinner
time, Buyong Matanayon threw seven slices of ginger into the fire. When Piganun
smelled the odor of burning ginger she left the dinner table because sorcerers hate the
odor of ginger. Immediately Buyong Matanayon struck Humadapnon, who became
unconscious. He dragged his friend with him, and they were able to escape.
They continued their trek and everywhere they went they exacted revenge on all
of Saragnayan’s people and relatives. One day the reached the place called Piniling
Tubig, which was ruled by Datu Umbaw Pinaumbaw. There was a big gathering in the
village and when they asked what was going on they were told that the datu was giving
his daughter for marriage to whoever could remove the huge boulder that rolled from a
mountain into the center of the village. Many men tried their luck but no one so far
was able to even move the stone.
Humadapnon took off his magic cape and used it to lift the stone and threw it
back into the mountain. The datu kept his word and Humadapnon married his
daughter. During the wedding feast, Humadapnon heard about the beauty of the
goddess of greed Burigadang Pada Sinaklang Bulawan from a guest minstrel who sang
at the celebration.
After the wedding, Humadapnon went to seek the hand of the goddess in
marriage. Along the way, he encountered Buyong Makabagting, son of the mighty
Datu Balahidyong of Paling Bukid who was also travelling with the same purpose in
mind. Upon learning of Humadapnon’s intent, Buyong Makabagting challenged him to
a duel. They fought and Buyong Makabagting was no match to Humadapnon’s
strength and skill. The fight ended when Buyong Makabagting surrendered and even
promised to aid Humadapnon in his quest. Humadapnon married the goddess and
brought her home.
Meanwhile, right after Humadapnon left to seek Saragnayan’s followerers and
relatives, his brother Dumalapdap left for Burutlakan-ka-adlaw where the maiden
Lubay-Lubyok Hanginun si Mahuyokhuyokon lived. For the trip he brought along
Dumasig, the most powerful wrestler in Madya-as.
Several months later they came to a place called Tarambuan-ka-banwa where
they encountered the two headed monster Balanakon who guarded a narrow ridge
leading leading to the place where the maiden lived.
With the aid of Dumasig, Dumalapdap killed Balanakon. However, upon
approaching the gate of the palace where the maiden lived he was confronted by
Uyutang, a bat-like monster with sharp poisonous claws. There ensued a bloody battle
between Dumalapdap and the monster. They fought for seven months and their skills
and prowess seemed to be equal. But on the seventh month, Dumalapdap was able to
grab on to Uyutang’s ankle and broke it. Then he took his iwang daniwan (magic
dagger) and stabbed Uyutang under the armpit. Uyutang cried out so loud that the
ridge where they were fighting broke into two, and there was an earthquake. Half of
the ridge became the island of Buglas (Negros) and the other became the Island Panay.
Dumalapdap married Lubay-Lubyok Hanginun si Mahuyokhuyokan and then
took her home. Datu Paubari was very happy when he was reunited with his three
sons and he prepared a feast in their honor. After the celebration, the three brother
left for different parts of the world. Labaw Donggon went to the North, Humadapnon
went south, Dumalapdap to the west and Datu Paubari remained in the East.