PHILIPPINE LITERATURE

A GUIDE FOR STUDENTS OF LITERATURE

• What is literature?
*written works which deal with themes of permanent and universal interest, characterized by
creativeness and grace of expression such as poetry, fiction, essay, etc.
*distinguished from works of scientific, technical, or journalistic nature.
* an expression of emotions, thoughts, beliefs, aspirations, dreams, and goals of humanity in
general and of man in particular.
*it can teach us the unknown and undiscovered things about ourselves (dark corners of the heart>
by Saint Augustine)
 LITERARY FORMS BASED ON PHILIPPINE
HISTORICAL PERIOD
• I. ANCIENT LITERATURE/FOLK LITERATURE
Time covered: beginnings unknown, up to around the 1550s
Writers: Authors are unknown as is usually the case in the earliest and unwritten literature of
the people. Authors are said to be “collective” or the “folk.”

Many by-lines in early literature are translators, anthropologists, compilers or recorders.

 Literary Tradition: the folk tradition
For lack of information, the following characteristics apply mainly to the Tagalog folk
tradition or to traditions similar to it.
authors – anonymous or “floating”
language – the vernacular, imagistic, metaphorical
rendition – oral: chanted, recited or sung from memory with or without music, dance, acting;
predominantly in verse
use and intent- for socialization
content – natural phenomena, interaction between man and nature, love, cycle of life, origins of
man, world, heroic exploits, battle, kinship, supernature, charms and magic, religion and ritual,
occupations
 FOLKTALES

Definition:
Folktales are stories handed down from the remote past; by word or mouth from generation to
generation, among the masses of the people; and reflecting the traditions of this people.
Kinds:
1. Myths deal mainly with the creation of the universe, the origin of man, the gods and
supernatural beings, and native culture heroes.
2. Legends deal mainly with the origin of local phenomena or events, origins of places, plants,
animals, things and names.
 FOLKTALES

3. Fables deal with animals and inanimate beings made to speak and act like rational beings and
pointing out morals.

4. Fantastic stories deal with the unseen world or the underworld and features odd, whimsical, or
grotesque characters.

Myths and legends are similar to each other and are often taken for one and the same thing. The
Philippines abounds in myths, legends, and fantastic creations such as the aswang, nuno sa punso, kapre,
duwende, manananggal, etc. Fables are the scarciest.
 EPICS

Definition: Philippine epics are: narratives of sustained length; based on oral tradition; revolving
around supernatural events or heroic deeds; in the form of verse, chanted or sung; with a
seriousness of purpose; embodying or validating the belief, customs, ideals or life-values of the
people. Philippine epics are more properly ethno-epics, i.e., epics belonging to and representing
ethnic groups and dealing with regional or tribal heroes.
Number: 28 epics known or identified; most of the remaining epics have been found among the
peoples “untouched” by acculturative processes, i.e., indigenous and ethnic groups in the Mountain
Province and in Mindanao and among our Muslims. The fewest are found among the Christian
peoples.
 EPICS

Authorship and Dating: Unknown, handed down by and among the folk by word of mouth. When
did our epics begin? “Since time immemorial” is a safe catch phrase.
Rendition: rendered orally- recited, chanted (in different styles) or sung; from memory, with or
without accompaniment of some musical instruments, rendered solo and/or with groups of persons
similar to a “chorus”, running through several days with several hours per day.
Literary characteristics:
1. The use of epithets identifying certain persons, evidently to facilitate character recall
 EPICS

2. Introductory, stereotype, repeated words or phrases, most probably to provide transitions

3. “Stanzaic” division, or division into a series of “songs” or cycles
4. Abundance of imagery and metaphor drawn from daily life, nature (plants, animals, heavenly
bodies, etc.), native ornamentation, weaponry, implements
5. A decipherable pattern in the development of the story, principally revolving around the hero;
involving his encounters with supernatural beings, charmed objects; his battles, and his search for a
loved one” or for parents; courtship or marriage.
 EPIC

Recurrent subject matter, themes and motifs:

- Heroic exploits and adventures of the hero
- Supernatural or superhuman deeds of the hero
- Love and romance
- Courtship-marriage-pregnancy-birth cycles
- Death and resuscitation
- Battles and bravery
 EPIC

- Wealth and royalty and feasting

- Magical and fantastic phenomena and beings and objects
- Customs and rituals
- Kinship behavior and solidarity, familial relationships

The Male Hero – characteristics?

The Principal woman character – love interest of the hero or the mother. Traits?
 POEMS

1. Juvenile rhymes – nursery rhymes

2. Religious – ritualistic verses > mixture of religion and superstition and ritual surrounding
almost every phase of life of our people from the healing of wound to enchantment or
exorcism.
3. Riddles – rich in imagery drawn from daily life and environment and is usually characterized
by a progression of this imagery into metaphor.
4. Proverbs – wise sayings or general truths usually expressed in the oblique language of
metaphor; rich in imagery drawn from daily life and environment
 II. PHILIPPINE LITERATURE UNDER THE
SPANISH PERIOD
• A. Poetry
• 1. Ladino Poems. Ladinos were natives. They were the first Tagalog versifiers who saw print and
were highly literate in both Spanish and the vernacular.
• Example: Fernando Bagongbanta who wrote Salamat Nang Ualang Hangga, a 12-stanza poem in
alternating Tagalog and Spanish lines:
Salamat ng ualang hangga
Gracias se den sempiternas
Sa nagpasilang ng tala
Al que hizo salir la estrella.
CONTINUATION SPANISH PERIOD

• 2. Metrical Romances. Corridos were widely read. They are extended verse narratives based on
tales brought into the country from Europe. They dealt mostly on courtly love and the chivalric
adventures of such heroes as Charlemagne and his peers, and El Cid, but they are not literal
translations of the original works. The structure is octosyllabic quatrains and most are of
unknown authorship.
• Example: Ang Ibong Adarna

May isang ibong maganda

Ang pangalan ay Adarna,
pag narinig mong kumanta
sa sakit ay giginhawa.
CONTINUATION SPANISH PERIOD

3. Awit. Like corridos, these were also widely read or chanted during the Spanish period as
entertaining and edifying matter. The awit is a fabrication of the writer’s imagination although the
characters and the setting may be European. Its structure is rendered in dodecasyllabic quatrains.
Example: Francisco Baltazar’s Florante at Laura

Ang taong magawi sa ligaya’t aliw,

mahina ang puso’t lubhang maramdamin
Inaakala pa lamang ang hilahil
na daratna’y di na matutuhang bathin.
CONTINUATION SPANISH PERIOD

Baltazar’s masterpiece is more than a romance in verse. He expressed his reaction to the
political and social conditions of the time. Speaking through Florante --- the poet’s symbol for
colonized Philippines --- he bitterly criticized the injustice, hypocrisy, and intolerance of the
regime. The message was not immediately felt by the Spanish authorities because they were more
attracted to the lyrical verses that were homiletic in nature and to the refreshing narration of the
victory of a Christian prince over a Moslem Persian.
CONTINUATION SPANISH

B. Prose
The prose works of the Spanish period consisted mostly of didactic pieces and translations of religious writings in
foreign languages. (didactic-intended to teach, moral instruction)
Example: Fr. Modesto de Castro’s Pagsusulatan ng Dalauang Binibini na Si Urbana at Ni Feliza na Nagtuturo ng
Mabuting Kaugalian (1855). It is an exchange of letters between two sisters: Urbana, who is a student in a college
in Manila, and Feliza, who lives in the province with her parents. Urbana’s letters are full of advice to her sister on
proper behavior at home, in church, at parties, while receiving a suitor in her parlor and on other occasions.

C. Drama
1. The Religious Drama – as arranged according to their appearance in the liturgical calendar of the events they
celebrate are as follows:
a. The Panuluyan – literally means “seeking entrance”. It is the Tagalog version of the Mexican Posadas. Held on
the eve of Christmas, it dramatizes Joseph’s and Mary’s search for lodging in Bethlehem. It is also called
Pananapatan o Panawagan; Gagharong or Pagharongharong in Bikol.
CONTINUATION SPANISH

• b. The Cenaculo – was originally the dramatization of the passion and death of Jesus Christ presented
during Maundy Thursday and Good Friday. The players either speak their lines in a slow deliberate way
(hablada) or chant their lines in the manner of pasyon singing (cantada).
• c. The Salubong – an Easter play that dramatizes the meeting of the Risen Christ and His mother.
• d. The Moriones – refers to the participants dressed as roman soldiers, their identities behind colorful,
sometimes grotesque, wooden masks. The pugutan or beheading climaxes the Moriones festival. The
headless body is then taken in procession around the town by his fellow Moriones and then buried.
• e. The Tibag or Santacruzan – performed during the month of May which is a period of devotion to the Holy
Cross. It depicts St. Elena’s search for the cross on which Christ died. The Tagalog name tibag comes from
the act of excavating or levelling the mounds.
• f. The Pangangaluluwa – an interesting socio-religious practice on All Saints’ Day which literally means
“for the soul.” The practice is based on the belief that the souls in purgatory are “released” on the night of
All Saints’ Day to go begging alms on earth.
CONTINUATION SPANISH

• 2. The Secular Dramas – generally held during the nine nights of vigil and prayers after
someone’s death, or the first death anniversary when the family members put away their
mourning clothes.
• a. The Karagatan – which means “open sea”, comes from the legendary practice of testing the
mettle of young men vying for a maiden’s hand. The mainden’s ring would be dropped into the
sea and whoever retrieves it would have the girl’s hand in marriage.
• b. The Duplo – a forerunner of Balagtasan. The performers consist of two teams: men called
Dupleros or Belyakos and the other of young women called Dupleras or Belyakas. An elderly
man – the Hari or Punong Halaman- presides over the proceedings.
CONTINUATION SPANISH

• c. The Comedia – one of the earliest forms of stage drama which took on a particular aspect –
that of a particular play which had for its main theme courtly love, usually between a prince and
a princess of different religions – one a Christian, the other a Muslim. These conflicts were
resolved in the end, with the victory of Christians, a propaganda tool which was endorsed by the
friars.
 III. CONTEMPORARY LITERARY FORMS

• A. Poetry
• Poems are literary attempts to share personal experiences and feelings. Since literature in general is all
about significant human experiences, poetry’s subject matter is also about the poet’s personal life or
the lives of those around him. Good poems aside from being stated in a fresh manner, often probe
deeply and can contain disturbing insights. The language is fresh and demanding because of its
subtleties. Good poems show images which leave the reader a sense of delight, awe, and wonder.
CONTINUATION CONTEMPORARY

The following six elements of poetry will help a reader understand a poem: the poetic line, sound
of words, meter, imagery, tone, and figures of speech.

1. The poetic Line. It is the basic unit of composition in poems, an idea or feeling which is
expressed in one line and is frequently continued into the next line. This is called enjambment or
run-on lines.
CONTINUATION CONTEMPORARY

For instance, take these lines from Romeo and Juliet, where the second and fifth
line
are end-stopped, and lines one, three, and four are enjambed:

When he shall die,
Take him and cut him out in little stars,
And he will make the face of heaven so fine
That all the world will be in love with night
And pay no worship to the garish sun.
CONTINUATION CONTEMPORARY

• 2. The Sound of Words. An indirection prominent in the method of poetry is the use of sound
effects to intensifymeaning. For the poet to convey ideas, he chooses and organizes his words
into a pattern of sounds that is a part of the total meaning. These sound effects are the products of
organized repetitions.
a. Rhyme repeats similar or corresponding sounds in some apparent scheme.
Twinkle, twinkle little star,
How I wonder what you are.
Up above the world so high,
Like a diamond in the sky.
Twinkle, twinkle little star,
How I wonder what you are.
CONTINUATION CONTEMPORARY

• b. Rhythm is the result of systematically stressing or accenting words and syllables attained through
patterns in the tuning, spacing, and repetition of the elements.

• c. Alliteration means the repetition for effect of initial vowels or consonants (e.g., He claps the crags
with crooked hands- Tennyson)

• d. Assonance or vowel rhyme refers to a partial change in which the stressed vowel sounds are alike but
the consonant sounds are unlike.
Example: Go slow on the road.
e. Onomatopoeia means the imitation in words of natural sounds.For example:
+ Hiss, buzz, mew
CONTINUATION CONTEMPORARY

• 3. Meter is regularized and patterned rhythm. There are four conventional types of meter in
English poetry, each being distinguished from the others by the number and accent of syllables.
• Types of Meter:
• a. Iambic meter – the most popular and the most natural to English expression. Its basic unit or
foot is one unaccented syllable followed by one accented syllable.
• Example: Whose woods/ these are/ I think/ I know.
• b. Trochaic meter – the reverse of iambic meter. Each foot consists of an accented or long
syllable followed by an unaccented short syllable.
• Example: Swift of/ foot was/ Hia/watha
CONTINUATION CONTEMPORARY

• c. Anapestic meter. This contains in each foot two unaccented or short syllables followed by one
accented or long syllable.
• Example: For the moon/ never beams/ without bringing me dreams

• d. Dactylic meter This is the opposite of anapestic. It consists of one accented or long syllable
followed by two unaccented or short syllables. It is slower and often used to create a strange mood.
• Example: This is the/ forest pri/meval

Seeing what the metrical units are and how many of them occur in the line is called “scanning” a line
of poetry. A one-foot line is called a monometer; two, diameter; and others in progression up to a
seven-foot line, thus trimester, tetrameter, pentameter, hexameter, and heptameter. Thus, the iambic
above is tetrameter, and the dactylic line is a trimeter.
CONTINUATION CONTEMPORARY

• 4. Imagery. This includes visual details, sounds, textures, feel, odors, and even tastes. Selection
of concrete details is the poet’s giving his reader a sensory image. By means of images, the poet
makes the reader think about the meaning of the poem.
• The poem "I Wandered Lonely as a Cloud" by William Wordsworth uses imagery throughout:
• A host, of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the
breeze.
• Continuous as the stars that shine And twinkle on the milky way, They stretched in never-ending
line Along the margin of a bay: Ten thousand saw I at a glance, Tossing their heads in sprightly
dance.
CONTINUATION CONTEMPORARY

• 5. Tone. This reveals the attitude toward the subject and in some case the attitude of the persona
or implied speaker of the poem as well. Examples are cheerful, sad, reflective, serious, angry,
anxious, etc. There are, however, many shades of tome, and clear-cut divisions cannot be easily
established.
• 6. Figures of Speech. Much of the suggestive power of words comes from figures of speech.
They are essential part of the poet’s craft especially if stated in the original, fresh, and subtle
way.
• Type of Figures of Speech:
• a) Simile is a directly expressed comparison between two dissimilar objects by means of the words
like, as or as if.
• Examples:
*Serenity of mind poises
Like a gull swinging in the air.
CONTINUATION CONTEMPORARY

• * He watches from his mountain walls; like a gull swinging in air and like
a thunderbolt he falls.

b. Metaphor gives an implied, not expressed, comparison of two unlike objects.

Examples:
* Good books are food and drink to an avid reader.
* When I saw her smile, a stone rolled away from my heart.

c. Personification gives an inanimate object or an abstract idea a human attribute or considers it a live being.
Examples:
* At last the wind sighed itself to sleep.
* Break, break, break/ On thy cold, gray stones, ? O sea!
CONTINUATION CONTEMPORARY

d. Apostrophe is an address to the absent as if he were present or to somebody dead as if he were

alive or to inanimate things as if they were animated.
Examples:
* Milton! Thou should be living at this hour.
* Mountains and hills come and fall on me.

e. Metonymy is a name of one thing used in place of another suggested or associated with it. It
consists in giving an idea that is so closely associated with another.
Examples:
* The pen is mightier than the sword.
* Gray hairs should be respected.
CONTINUATION CONTEMPORARY

f. Antithesis is the contrast or opposition of thoughts, words, or ideas. Contrasting

words or ideas make each other emphatic.
Examples:
* Easy writing makes hard reading; hard writing, easy reading.
* His body is active but his mind is sluggish.

g. Hyperbole is the exaggeration for effect and not to deceive or to be taken literally.
Examples:
* Morning, noon and night her tongue was incessantly doing.
CONTINUATION CONTEMPORARY

h. Irony is the method of humorous or subtly sarcastic expression in which the intended meaning
of the words is the direct opposite of what is meant.
Example:
* It was very kind of you to remind me of my humiliation.

B. Short Stories
A short story is a work of fiction that is usually written in a narrative format. Fiction refers to
novels and stories that describe imaginary people and events. The important elements of a short
story are:
CONTINUATION CONTEMPORARY

a. Setting – the time and location in which a story takes place. For some stories, the setting is
very important, while for other stories, it is not.

b. Plot – the sequence of events in a story or play.

c. Conflict – essential to plot; within conflict there is not plot. It is the opposition of forces
which ties one incident to another and makes the plot move. Conflict is not
Merely limited to open arguments; rather, it is any form of opposition that the main character faces.
CONTINUATION CONTEMPORARY

d. Character – may refer to the person in a work of fiction or the characteristics of a person.

e. Theme – the central idea or insight that comments on human condition; a truth in life which is
the heart of the story of the story. The theme is usually implied rather than
stated; for example good versus evil (personal or dark forces in man’s environment, such as
disease, poverty, and war) or life process (childhood joys and fears or growing-up pains of
teenagers).
CONTINUATION CONTEMPORARY

Explanation of the basic elements of a short story:

a. Setting – the place or location of the action; provides the historical and cultural context for
characters. It often can symbolize the emotional state of characters.
b. Plot – the development of a story in terms of beginning, middle, or end. The beginning contains
the conflict which rises to a climax where the story turns before reaching a denouement or a
resolution. A good plot is not based on twist and turn of events but how much is revealed about the
characters and the theme of the story.

Elements of the plot:

b.1 Exposition – the introductory material, creates the tone, presents the characters, and
presents other facts necessary to understand the story.
 CONTINUATION CONTEMPORARY

b.2 Rising action – this is a series of events that builds from and during conflict.
It begins with the inciting force and ends with the climax.

b.3 Crisis – The conflict reaches a turning point where in the opposing forces in
the story meet and the conflict becomes more intense. The crisis occurs before or at the same time
as the climax.

b.4 Climax – The climax is the result of the crisis. It is the highest point of the
story for the reader. Frequently, it is the moment of the highest interest and the greatest motion –
the point at which the outcome of the conflict can be predicted.
CONTINUATION CONTEMPORARY

b.5 Falling Action – These are the events after the climax which close the story.

b.6 Resolution – This is the ending of the story which rounds out and concludes the action. It can
resolve the conflict or close the actions.

3. Characterization – imaginary people created by the writer. They fall under two categories:
3.1 Major characters. These are almost always round or three-dimensional characters. They have
good and bad qualities. Their goals, ambitions, and values change. A round character changes as a
result of what happens to him or to her and is referred to in literature as a “dynamic” character.
CONTINUATION CONTEMPORARY

A dynamic character grows or progresses to a higher level of

understanding in the course of the story. Characters in literature are
characterized as follows:

* Protagonist – the main character at the center of the story

* Antagonist – the character or force that opposes the protagonist
* Foil – a character that provides a contrast to the protagonist
CONTINUATION CONTEMPORARY

3.2 Minor Characters. They often provide support and illuminate the
protagonist. These characters are flat or two-dimensional and have only one or two
striking qualities. A minor character’s predominant quality is not balanced by an
opposite quality. They are usually all-good or all-bad. Such characters can be
interesting or amusing in their own right, but they lack depth. Flat characters are
sometimes referred to as “static” characters because they do not change in the
course of the story.
CONTINUATION CONTEMPORARY

4. Point of View – pertains to who tells the story and how it is told. It can sometimes indirectly
establish the author’s intentions. The point of view is established by a narrator or the person telling
the story. He could be classified as:
a. First Person. The narrator is a character in the story who can reveal only
personal thoughts and feelings and what he or she sees and is told by other
characters. He cannot tell us the thoughts of other characters.

b. Objective. The narrator is unnamed or unidentified (a detached observer). This

narrator is not a character in the story and does not assume character’s perspective. The
narrator reports on events and lets the reader supply the meaning.
CONTINUATION CONTEMPORARY

c. All-knowing Narrator or Omniscient. The narrator is an all-knowing outsider who can enter the
minds of more than one of the characters.
5. Conflict – the essence of fiction. It creates plot. The conflicts we encounter can usually be identified
as one of four kinds:
a. Man versus Man. This conflict pits one person against another.
b. Man versus Nature. This conflict is a run-in with the forces of nature. On the one hand, it
expresses the insignificance of a single human life in the cosmic scheme of things.
c. Man versus Society. The values and customs by which everyone else lives are being
challenged. The character may come to an end as a results of his or her own convictions. The
character may, on the other hand, bring others around to a sympathetic point of view, or it may be
decided that society was right after all.
CONTINUATION CONTEMPORARY

d. Man versus Self or Internal conflict. Not all conflicts involve other
people. Sometimes, people are their own worst enemis. Ann internal conflict is a
good test of a character’s values. Does he give in to temptation or rise above it?
Does he demand the most from himself or settle for something less? Does he even bother
to struggle? The internal conflicts of a character and how they are
resolved are good clues to the character’s inner strength.

Often, more than one kind of conflict is taking place at the same time. In every
case, however, the existence of conflict enhances the reader’s understanding of a
character and creates the suspense and interest that make us continue reading.
CONTINUATION CONTEMPORARY

6. Theme – the main idea or underlying meaning of a literary work. A theme may be major
or minor. A major theme is an idea that the author returns to time and again. It becomes one
of the most important ideas in the story. Minor themes are ideas that appear from time to
time.

It is important to recognize the difference between the theme of a literary work and the
subject of a literary work. The subject is the topic on which an author has chosen to write.
The them, however, makes a statement about or expresses an opinion on that topic. For
example:
Subject/Topic: War
Theme: the idea that war is useless.
CONTINUATION CONTEMPORARY

The four ways in which an author can express themes are as follows:

a. Themes are expressed and emphasized by the way the author makes us feel. By sharing
feelings of the main character, you also share the ideas that go through his or her mind.

b. Themes are presented in thoughts and conversations. Authors put words in their
characters’ mouths only for good reasons. One of these is to develop a story’s themes. The things a
person says are much on their mind. Look for thoughts that are repeated throughout the story.
CONTINUATION CONTEMPORARY

c. Themes are suggested through the characters. The main character

usually illustrates the most important theme of the story. A good way to get at
this theme is to ask yourself the question, “What does the main character learn
in the course of the story?”

d. The actions or events in the story are used to suggest theme. People
naturally express ideas and feelings through their actions. One thing authors
think about is what an action will “say.” In other words, how will the actin
express an idea or theme?
CONTINUATION CONTEMPORARY

7. Foreshadowing – the author’s use of hints or clues to suggest events that will occur later in the
story. Not all foreshadowing is obvious. Frequently, future events are merely hinted at through
dialogue description, or the attitudes and reactions of the charcters. Foreshadowing frequently
serves two purposes:

a. It builds suspense by raising questions that encourage the reader to go on and find out
more about the event that is being foreshadowed.

b. It is also a means of making a narrative more believable by partially preparing the

reader for events that are to follow.
CONTINUATION CONTEMPORARY

8. Irony – the contrast between what is expected or what appears to be and what actually is.

a. Verbal Irony – the contrast between what is said and what is actually meant

b. Irony of Situation - refers to a happening that is the opposite of what is expected or

intended.

c. Dramatic Irony – occurs when the audience or reader knows more than the characters know
CONTINUATION CONTEMPORARY

9. Tone – the author’s attitude stated or implied toward a subject. Some possible attitudes are
pessimism, optimism, earnestness, seriousness, bitterness, humor, and joy. An author’s tone can be
revealed through his choice of words and details.

10. Mood – the climate of feeling in a literary work. The choice of setting objects, details, images,
and words all contribute toward creating a specific mood. For example, an author may create a
mood of mystery around a character or setting but may treat that character or setting in an ironic,
serious, or humorous tone.
CONTINUATION CONTEMPORARY

11. Symbolism – a person, place, or object which has a meaning in itself but suggests other
meanings as well. Things, characters, and actions can be symbols. A symbol is anything that
suggests a meaning beyond the obvious.

Some symbols are conventional or generally mean the same thing to all readers.
Example: bright sunshine symbolizes goodness or happiness
water is a symbolic cleanser
CONTINUATION CONTEMPORARY

12. Imagery – words used by authors tomake a concrete representation of a sense impression, a
feeling, or an idea which appeals to the reader’s one or more senses.

• a. Tactile imagery – sense of touch

As I tumbled down the hill, the loose rocks

raced alongside me, pricking my hands and face
like a hundred tiny knives.
The little puppy accosted me as he
slobbered my face with his wet and eager tongue.
I had no choice but to pet his cotton soft fur. I ruffled his floppy ears as he slapped his mink-
soft paw into my hand.
CONTINUATION CONTEMPORARY

b. Aural/Auditory Imagery – sense of hearing

Examples:
*Enjoyable sounds, such as: beautiful music, birdsong, and the voices of a chorus.
*Noises, such as: the bang of a gun, the sound of a broom moving across the floor, and the
sound of broken glass shattering on the hard floor.
*The lack of noise, describing a peaceful calm or eerie silence.

 
CONTINUATION CONTEMPORARY

c. Olfactory Imagery – sense of smell

For example:
“He smelled like the ocean, salty and fresh.”
Because smell is heavily linked to memory, writers may use olfactory imagery
to recreate a certain mood or feeling for readers.

d. Visual Imagery – sense of sight. This is what you can see, and includes visual descriptions.
Physical attributes including color, size, shape, lightness and darkness, shadows, and shade are all
part of visual imagery.
CONTINUATION CONTEMPORARY

e. Gustatory Imagery – sense of taste

e. Gustatory Imagery – sense of taste