Our Lady of the Pillar College – San Manuel, Incorporated

District 3, San Manuel, Isabela

Basic Education Department

S.Y. 2021 – 2022

LEARNING MODULE
21ST Century Literature from
the Philippines and the World
Grade 11 – Module 1

Geographic, Linguistic and Ethnic

Dimensions of Philippine Literary
History from Pre-Colonial to the
Contemporary

Elvis Pabro Viernes

Subject Teacher

Mobile Number:
09984853637
Facebook Account:
Elvis Pabro Viernes
Gmail Account:
[email protected]
 21ST CENTURY LITERAUTE FROM THE PHILIPPINES AND THE WORLD

CONTENT STANDARD
The learner will be able to understand and appreciate the elements and
contexts of 21st century Philippine literature from the regions.

PERFORMANCE STANDARD
The learner will be able to demonstrate understanding and appreciation of
21st Century Philippine literature from the regions through:

1. a written close analysis and critical interpretation of a literary text in terms

of form and theme, with a description of its context derived from
research; and
2. an adaptation of a text into other creative forms using multimedia.

MOST ESSENTIAL LEARNING COMPETENCIES

1. Writing a close analysis and critical interpretation of literary texts and

doing an adaptation of these require from the learner the ability to
identify:
a. the geographic, linguistic, and ethnic dimensions of Philippine literary
history from pre-colonial to the contemporary
b. representative texts and authors from each region (e.g. engage in
oral history research with focus on key personalities from the students’
region/province/town)
2. Compare and contrast the various 21st century literary genres and the
ones from the earlier genres/periods citing their elements, structures and
traditions.
3. Discuss how different contexts enhance the text’s meaning and enrich
the reader’s understanding.
4. Produce a creative representation of a literary text by applying
multimedia and ICT skills.
5. Do self- and/or peer-assessment of the creative adaptation of a literary
text, based on rationalized criteria, prior to presentation
 CHAPTER 1

Lesson 1: Literary Periods of Philippine Literature

❖ Intended Learning Outcomes

A. Identify the geographic, linguistic, and ethnic dimensions of Philippine

literary history from pre-colonial to the contemporary period.
B. Explore thoughts on how the different literary periods affect the
manner of writing of the literary authors.
C. Open the minds of the people about the Philippine culture by means
of studying literature.

❖ Introduction
Literature gives people insights into their personal behavior and
positive experiences beyond the personal environment. Philippine
Literature is rich in different works which is continuously evolving in different
periods. It started with folklores, fables, songs passed through different
generations in both oral and written tradition. However, colonization made
an influence in the development of the literary writings of the Filipinos.

I. Pre-Colonial Era (Early Times-564)

This is the literary period before the coming of the Spaniards and
considered as the first and longest literary history among the other periods.
The discovery in Tabon cave in Palawan in 1962 of a skull cap and a
portion of a jaw presumed to be those of a human being shows conclusively
that man came earlier to the Philippines. This stretches out in the prehistory
that thousand years ago, early Filipinos depend their way of living in the
environment.
Oral literature marks the birth of literature in the Philippines. Different
stories of myths, folks and narratives meant to be sung were passed hand in
hand orally. Oral literature serves to be their language of life and their way
of promoting cultural heritage. Their riddles, proverbs and other forms of
poetry were based on their community and real life experiences.
History states that Filipinos before the arrival of the Spaniards had an
alphabet called syllabary. In Filipino, they call it alibata. Syllabary or alibata
 was probably of Sanskrit or Arabic Provenance. It is consisted of seventeen
symbols, or which three were vowels standing for the present five vowels
and fourteen consonants.

Forms of Literature during the Pre-Colonial Era

1.1 Pre-Colonial poetry
Early forms of poetry during the pre-colonial era were meant to be
recited in a manner of songs and chants. Without proper training and
education in terms of writing, early Filipinos managed to show their
artistic side of producing poems and other literary pieces with
measurement and unified rhyming scheme.

A. Proverbs (Salawikain)
These are truths and wise sayings express in a language that is
popularly known. These are often called expressions of wisdom which is
based on common sense and real life experiences.

Examples:
1. Bago mo sabihin at gawin, makapitong iisipin.
(Before you say and do, think about it seven times.)

2. Kung di ukol, di bubukol.

(If it isn't related to the matter at hand, it's irrelevant.)

B. Tanaga
A poem in quatrain containing seven syllables each line with a
monorine.
Example:

KAIBIGAN
Emelita Perez Baes

Palay siyang matino,

Nang humangi'y yumuko;
Nguni't muling tumayo,
Nagkabunga ng ginto.
 C. Folk song
This is a form of lyrical expression created by people according to
their region.
Example:

TAGALOG FOLK SONG

Sitsiritsit

Sitsiritsit, alibangbang
Salaginto at salagubang
Ang babae sa lansangan
Kung gumiri'y parang tandang

D. Riddles (bugtong)
This is a game in a form of mystifying question and a mind puzzle
intended to be solved.

Examples:
1. Isang balong malalim, punong-puno ng patalim.
(A deep well that is full of chisels.)

Answer: (mouth/bibig)

2. Dalawa kong kahon, buksan walang ugong. (My two boxes are
opened without a sound.)

Answer: (eyes/mata)

1.2 Prose Narratives

Prose narratives were created in order to give an explanation about a
certain natural phenomena. These are stories of mythological creatures,
legends and humans with supernatural power transmitted orally and preserved
as part of the region's history.
A. Epic
This is a long narrative poem about quests and exciting
adventures of a hero with unusual strength and power.

B. Myth
 This is a story of gods and goddesses told using a traditional
language explaining mysteries, beliefs and cultural practices.
C. Fables
These are stories intended to teach human values with animals as
major characters attributing human qualities.

D. Legends
These are stories explaining origins handed down from the past
and passed through different generations. This is believed by some
people but not proven scientifically.

E. Folk tale
This is an imaginative narrative story told by ancient group of
people.

II. Spanish-Colonial Era (1565-1898)

Philippine Christianization is not just the biggest contribution of the
Spaniards towards the Filipino people but also created a big impact in
Philippine literature during the era. The Spaniards attempted to teach Filipinos
the Spanish language for they wanted their poems and other writings play a
major role in the society. The first Filipino alphabet called alibata was also
replaced by the Roman alphabet.

During this period Filipino writers started to write articles about the
negative impacts and effects of colonization in the country. It was also evident
that Spanish administration changes some traditions and culture of the
Filipinos. Literary works during this era follow a universal theme of religion and
other social issues.
The natives were called Indios during this time. Church authorities
headed by the friars were spreading church doctrines during holy masses using
Spanish language. In 1953. Doctrina Christiana was the first book published in
the Philippines. It was a collection of prayers written in Spanish translated in
Tagalog,
Brought by the language influence of the Spaniards, the natives or the
Indios became fluent in both Spanish and Tagalog. It was the time when the
natives decided to create their first literary text. Ladinos is the term used for
native literary writers.
Oral literatures were still evolving during this time. But Filipino writers found
it difficult to publish their written works because printing presses were
dominated and owned by the religious ministries and Spanish church leaders.
 In the next century, while the country is still in the hands of the Spaniards,
members of the middle class decided to wage their propagandas and started
to create reforms to show their concern to the country. Reformists were young
men who had shown idealism and great faith in the Philippines. Their main goal
is for Spain to grant assimilation in the Philippines and recognize it as one of
their provinces.
Graciano Lopez Jaena was known to be highly intelligent man of his
age. He took writing seriously at an early age in life. His most famous writing is
the tale entitled “Fray Botod" Botod means Botyok in Filipino language. The
second word of his title means a big-bellied man. The character of the
protagonist symbolizes the abusive and immorality of the friars.
He also became the editor of the newspaper "La Solidaridad." The
newspaper aims for collecting ideas in different fields such as politics, arts,
literature, economics and other sciences. It seeks solution in both political and
social issues in a democratic way.
Marcelo H. Del Pilar founded the nationalistic newspaper called
"Diariong Tagalog" He was known to be the "Master of Tagalog Language" and
tried to awaken the consciousness of the masses to act as a unified people. In
1882, his writing career took place as he wrote of patriotism revealing the sad
state of the country. As he joined the other propagandists in the year 1888, he
began writing pamphlets ridiculing the administration of the friars regarding
injustices towards Filipinos.

It was also on the same year that Fr. Jose Rodriguez issued "Caingat
Cayo." It was a pamphlet issued attacking the novel of Jose Rizal which is the
"Noli Me Tangere" opposing the Catholic religion. However, it was Vicente
Garcia who wrote "Dasalan at Toksohan" using the pen name V. Caraig.
Dasalan at Toksohan was a parody of the prayer Our Father as a defense for
Jose Rizal.
Francisco Baltazar or fondly called as Balagtas is a genius writer of
Tagalog poetry. He is known for his poem "Florante at Laura" whose metrical
measurement and rhyming pattern create a beautiful imagery in the readers'
eyes. In this poem, the way he described Albanya as the setting, reflected the
tyranny of the Spaniards during the Spanish colonization era.

Jose Rizal was popular for his two novels, Noli Me Tangere and El
Filibusterismo. The first novel was entitled "Noli Me Tangere" which means
(Touch Me Not). He described it as a work of the heart. It was a story of love
and aspirations of a Filipino. The protagonist named "Crisostomo Ibarra" was a
representation of himself. Though Noli Me Tangere was purely fiction, the
setting of the novel reflects the current situation of the Philippines during the
administration of the Spaniards while his characters reflect the dominance of
the Spanish government towards the Filipino people.
 El Filibusterismo was his second novel, the title means (The Traitor). If Noli
was 8 work of the heart, he described his second novel as "the work of the
mind". In his second novel, he did not just expose the dirty secrets of the Spanish
government and abusive side of the friars but also predicted a revolution
between Filipinos and Spaniards.
Aside from being the icons of revolution, Andres Bonifacio the husband
of Gregoria De Jesus who is known as the "Father of Katipunan" showed his
patriotism and poetic side as he wrote the poem "Pag-ibig Sa Tinubuang Lupa"
while Emilio Jacinto who is addressed as "The Brains of Katipunan" wrote
political essays using folk language.

III. American Colonial Period (1899-1945)

It was evident during the period of American occupation in the

Philippines that the public school system was their biggest contribution in the
country. Thomasites were American soldiers who came to the Philippines to
become teachers: Another great influence of Americans on the cultural life of
the Filipinos was the adoption of the American language in the national
language. With a simple context similar to Filipino, English was chosen to be the
second language of the country nowadays. This period also introduced the
English Alphabet.

During the colonization of the Americans, Filipino writers greatly enjoyed

the freedom of expression. This period remarked the vibrant well-spring of some
nationalistic plays with themes such as freedom and independence. American
authorities also preseribed some plays to be performed on stage such as:
Kahapon, Bukas Ngayon by Aurelio Tolentino, Hindi Ako Patay by Juan
Matapang, Tanikalang Ginto by Juan Abad and Walang Sugat by Severino
Reyes.
The development of the Filipino literature rose continuously during this
period. Filipino writers adopted American words and phrases in the Philippine
language. Since English language became the medium of instruction in all
schools, literary writers decided to use English as a form of creative expressions
in their writings. Some essayists and poets during this period were: Juan F.
Salazar, Bernardo P. Garcia, Maximo M. Kalaw, Tarcila Malabanan and
Francisco M. Africa.
With the combination of language and nationalistic themes during the
American time, this period signaled the growth of Philippine literature. New
uprising generation of writers continued producing literary works reflecting
Filipino culture and beliefs such as: Manuel Arguilla's How my Brother Leon
Brought Home A Wife" follows the way of living of the Ilocanos, Jose Garcia
Villa's "Footnote to Youth" reminds the young Filipinos about the consequences
of early marriage.

Faustino Aguilar's "Pinaglahuan" and Lope K. Santos' Banaag at Sikat"

used other significant themes like stories of love and social justices Other literary
authors during this period are Idelfonso Santos, Alejandro Abadilla, Jose
Corazon De Jesus, Brigido Batungbakal, Genoveva Edroza Matute and Claro
M. Recto.

IV. Contemporary Period (1946-present)

Japanese did not resist the emerging progress of Filipino literary activity.
Before the occurrence of the World War II, Filipino literary writers began writing
about the pre-war social problems of the country. But in 1920's it had been
neglected in favor of fantasy and romances brought by the influence of
American colonization. During the first years after the Liberation, few literary
magazines appeared Malaya, Ilang-Ilang, Sinag-Tala, Liwayway and Bulaklak.
During 1920's, short stories became the favorite literary type of prose
among the Filipino writers. However, in the 1930's decade, the post- American
Independence inspired Filipino writers to follow the footsteps of some of the
prominent writers of English Literature such as William Shakespeare, Edgar Allan
Poe, Earnest Hemingway and William Faulkner. Some writers still to continue the
style and manner of writings of these authors. Genoveva D. Edroza - Matute,
Macario Pineda, Elpidio P. Kapulong, Hilario Coronel and Pablo N. Bautista
wrote literary articles that had been included in short story anthologies. In the
same year, Alejandro G. Abadilla collected and edited "Mga Piling Katha"
while Genoveva D. Edroza-Matute wrote "Ako'y Isang Tinig" which is a
collection of stories and essays.
In 1951, more Filipino literary writers were encouraged to produce more
literary writings. It was also this period, when the prestigious award-giving body
for literature was founded the "Carlos Palanca, Sr. Memorial for Literature." The
best stories for each year were picked by the literary editors who submit their
entries to the Board of Judges. Other writers who became nominees for this
award were: Idelfonso Santos, Teodoro Agoncillo, Alejandro Abadilla, Jose
Corazon De Jesus, Brigido Batungbakal and Teodoro Agoncillo for his
anthology "25 Pinakamahusay na Maikling Kwento."
During the Intter years, poetry had been dominated by the other literary
forms of prose. Alejandro G. Abadilla who was known to be one of the best
poets of his century wrote other genres of literature for he believed that there
was no assurance of being an agent of poetry In 1955, "Parnasong Tagalog"
written by Abadilla became the first major anthology of poetry. Not contented
with his work, in the same year he brought out his collection of verse entitled
"Ako ang Daigdig at Iba pang Tula." However. Haiku, a pattern of poetry which
follows 5-7-5 syllables per verse with themes talking about natures, caught the
interest of some Filipino poets.
Amado V. Hernandez was addressed as the greatest post war Filipino
poet. He wrote "Dipang Langit" in 1961 and "Bayang Malaya" in 1969. Before
his death in 1970, he won the Republic Cultural Award and National Artist
Award in 1973.

In 1987, our alphabet that had gone many changes was developed
from the 26 letters of English alphabet to the Modern Filipino Alphabet.

Enrichment Activities
I. Form a concept web by writing the different periods of Philippine
Literature.

II. Identify the period and the author of the following literary works. Write
your answer on the space provided.

1. Noli Me Tangere
2. Hindi Ako Patay
3. Banaag at Sikat
4. Florante at Laura
5. Ako’y Isang Tinig
6. Pag-ibig sa Tinubuang Lupa
7. Bayang Malaya
8. How my Brother Leon Brought Home a Wife
9. Foothnote to Youth
10. Dipang Langit
III. Give two examples for each literary form during the Pre-Colonial
Period.

A. Riddle
1.
2.

B. Fables
1.
2.

C. Folk Songs
1.
2.

D. Folktales
1.
2.

E. Myths
1.
2.

IV. Identify what is being asked in each statements.

1. English meaning of the novel El Filibusterismo

2. Japanese form of poetry with 5-7-5 pattern if syllables per verse.
3. Stories intended to teach human values with animals as major
characters attributing human qualities.
4. Pseudonym of Francisco Baltazar.
5. First book published in the Philippines.
6. The alphabet during the 2nd period of Philippine Literature.
7. First Filipino Alphabet
8. A literary from which narrates adventures and quests of a hero.
9. The author of “Pinaglahuan”.
10. It is the term used for native literary writers.
V. Reflective Writing
1. Explain the role of literature in the following periods:
A. Pre-Colonial

B. Spanish-Colonial

C. American-Colonial

D. Contemporary-Colonial

2. Is Philippines Literature a form of art? Support your answer.

3. How is studying Philippine Literature relevant in developing a better

understanding of Filipino Culture?
Lesson 2: Authors and Works of National Artists in Literature

❖ Intended Learning Outcomes:

1. Name Filipino authors who became "National Artists in Literature"
2. Analyze the relevance of the authors' choice of literary selection's
theme.
3. Infer values from each literary work.

❖ Introduction

Literature is a creative way of expression through the use of words and

symbols. Every author has a purpose of creating a literary work. Some of their
writings reflect their personal and aesthetic experiences while some uses
cultural or societal viewpoint as an inspiration for their writings. In Philippines,
National Artist for Literature is the highest recognition given to those Filipino
individuals who have made significant contributions in the world of literary
writing. Works were measured through creative expressions of imagination,
theme, relevance and highly aesthetic form of art. As part of honor and
cultural heritage, each of the nominees for the prestigious recognition should
be recommended by the National Commission for Culture and Arts (NCCA)
and Cultural Center of the Philippines (CCP) with the confirmation of the
Philippine President.

National Artists in Literature

National Artists in Literature Year Literary Works

Awarded
1. Jose Garcia Villa 1973 Footnote to Youth
2. Amado H. Hernandez 1973 Mga Ibong Mandaragit
3. Nick Joaquin 1973 May Day Eve
4. Carlos P. Romulo 1982 I am a Filipino
5. N.VM. Gonzales 1990 The Bread of Salt
6. Francisco Arcellana 1990 The Mats
7. Edith L. Tiempo 1999 A Blade of Fern
8. F. Sionil Jose 2001 Ermita
9. Alejandro Roces 2003 My Brother’s Peculiar Chicken
10. Virgillo S. Almario 2003 Ibong Adarna
11. Bienvenido Lumbrera 2006 Sulyap at Suri sa
Nababagong Lipunan
12. Lazaro Franciso 2009 Maganda Pa Ang Daigdig
13. Cirilio Bautista 2014 The Archipelago
 Works of National Artists in Literature
About the Author and Background

Alejandro Reyes Roces (July 13, 1924 - May 23, 2011). Aside from being
one of the National Artists in Philippine Literature, Roces rode his career as the
Secretary of Education during the presidential term of Diosdado Macapagal
from 1961-1965, He was also known nas the "Country's Best Writer for Humorous
Stories." Most of his writings talk about gambling and negative habits of Filipinos.
Other than stories about cockfighting, he also wrote "We Filipinos Are Mild
Drinkers." In 1956, his story My Brother's Peculiar Chicken" first appeared in New
Mexico Quarterly University under the title "Cocks and Hen" Roces himself was
not a fan of gambling or other aspects of cockfighting. His purpose was just to
awaken the minds of the readers about the country ancestral spurt before the
rise of American games during their colonization.

My brother Kiko once had a very peculiar chicken. It was peculiar because no
one could tell whether it was a rooster or a hen. My brother claimed it was a
rooster. I claimed it was a hen. We almost got whipped because we argued
too much.

The whole question began early one morning. Kiko and I were driving the
chickens from the cornfield. The corn had just been planted, and the chickens
were scratching the seeds out for food. Suddenly we heard the rapid flapping
of wings. We turned in the direction of the sound and saw two chickens fighting
in the far end of the field. We could not see the birds clearly as they were
lunging at each other in a whirlwind of feathers and dust.

“Look at that rooster fight!” my brother said, pointing exactly at one of the
chickens. “Why, if I had a rooster like that, I could get rich in the cockpits.”

“Let’s go and catch it,” I suggested.

“No, you stay here. I will go and catch it,” Kiko said.

My brother slowly approached the battling chickens. They were so busy

fighting that they did not notice him. When he got near them, he dived and
caught one of them by the leg. It struggled and squawked. Kiko finally held it
by both wings and it became still. I ran over where he was and took a good
look at the chicken.

“Why, it is a hen,” I said.

“What is the matter with you?” my brother asked. “Is the heat making you
sick?”

“No. Look at its face. It has no comb or wattles.”

“No comb and wattles! Who cares about its comb or wattles? Didn’t you see
it in fight?”

“Sure, I saw it in fight. But I still say it is a hen.”

“Ahem! Did you ever see a hen with spurs on its legs like these? Or a hen with
a tail like this?”

“I don’t care about its spurs or tail. I tell you it is a hen. Why, look at it.”

The argument went on in the fields the whole morning. At noon we went to eat
lunch. We argued about it on the way home. When we arrived at our house
Kiko tied the chicken to a peg. The chicken flapped its wings and then crowed.

“There! Did you hear that?” my brother exclaimed triumphantly. “I suppose you
are going to tell me now that hens crow and that carabaos fly.”

“I don’t care if it crows or not,” I said. “That chicken is a hen.”

We went into the house, and the discussion continued during lunch.

“It is not a hen,” Kiko said. “It is a rooster.”

“It is a hen,” I said.

“It is not.”

“It is.”

“Now, now,” Mother interrupted, “how many times must Father tell you, boys,
not to argue during lunch? What is the argument about this time?”

We told Mother, and she went out look at the chicken.

“That chicken,” she said, “is a binabae. It is a rooster that looks like a hen.”

That should have ended the argument. But Father also went out to see the
chicken, and he said, “Have you been drinking again?” Mother asked.

“No,” Father answered.

“Then what makes you say that that is a hen? Have you ever seen a hen with
feathers like that?”

“Listen. I have handled fighting cocks since I was a boy, and you cannot tell
me that that thing is a rooster.”
Before Kiko and I realized what had happened, Father and Mother were
arguing about the chicken by themselves. Soon Mother was crying. She always
cried when she argued with Father.

“You know very well that that is a rooster,” she said. “You are just being mean
and stubborn.”

“I am sorry,” Father said. “But I know a hen when I see one.”

“I know who can settle this question,” my brother said.

“Who?” I asked.

“The teniente del Barrio, chief of the village.”

The chief was the oldest man in the village. That did not mean that he was the
wisest, but anything always carried more weight if it is said by a man with gray
hair. So my brother untied the chicken and we took it to the chief.

“Is this a male or a female chicken?” Kiko asked.

“That is a question that should concern only another chicken,” the chief
replied.

“My brother and I happen to have a special interest in this particular chicken.
Please give us an answer. Just say yes or no. Is this a rooster?”

“It does not look like any rooster I have ever seen,” the chief said.

“Is it a hen, then?” I asked.

“It does not look like any hen I have ever seen. No, that could not be a chicken.
I have never seen like that. It must be a bird of some other kind.”

“Oh, what’s the use!” Kiko said, and we walked away.

“Well, what shall we do now?” I said.

“I know that,” my brother said. “Let’s go to town and see Mr. Cruz. He would
know.”

Mr. Eduardo Cruz lived in a nearby town of Katubusan. He had studied poultry
raising in the University of the Philippines. He owned and operated the largest
poultry business in town. We took the chicken to his office.

“Mr. Cruz,” Kiko said, “is this a hen or a rooster?”

Mr. Cruz looked at the bird curiously and then said:

“Hmmm. I don’t know. I couldn’t tell in one look. I have never run across a
chicken like this before.”

“Well, is there any way you can tell?”

“Why, sure. Look at the feathers on its back. If the feathers are round, then it’s
a hen. If they are pointed, it’s a rooster.”

The three of us examined the feathers closely. It had both.

“Hmmm. Very peculiar,” said Mr. Cruz.

“Is there any other way you can tell?”

“I could kill it and examined its insides.”

“No. I do not want it killed,” my brother said.

I took the rooster in my arms and we walked back to the barrio.

Kiko was silent most of the way. Then he said:

“I know how I can prove to you that this is a rooster.”

“How?” I asked.

“Would you agree that this is a rooster if I make it fight in the cockpit and it
wins?”

“If this hen of yours can beat a gamecock, I will believe anything,” I said.

“All right,” he said. “We’ll take it to the cockpit this Sunday.”

So that Sunday we took the chicken to the cockpit. Kiko looked around for a
suitable opponent. He finally picked a red rooster.

“Don’t match your hen against that red rooster.” I told him. “That red rooster is
not a native chicken. It is from Texas.”

“I don’t care where it came from,” my brother said. “My rooster will kill it.”

“Don’t be a fool,” I said. “That red rooster is a killer. It has killed more chickens
than the fox. There is no rooster in this town that can stand against it. Pick a
lesser rooster.”
My brother would not listen. The match was made and the birds were readied
for the killing. Sharp steel gaffs were tied to their left legs. Everyone wanted to
bet on the red gamecock.

The fight was brief. Both birds were released in the centre of the arena. They
circled around once and then faced each other. I expected our chicken to
die of fright. Instead, a strange thing happened. A lovesick expression came
into the red rooster’s eyes. Then it did a love dance. That was all our chicken
needed. It rushed at the red rooster with its neck feathers flaring. In one lunge,
it buried its spurs into its opponent’s chest. The fight was over.

“Tiope! Tiope! Fixed fight!” the crowd shouted.

Then a riot broke out. People tore bamboo benches apart and used them as
clubs. My brother and I had to leave through the back way. I had the chicken
under my arm. We ran toward the coconut groves and kept running till we lost
the mob. As soon as we were safe, my brother said:

“Do you believe it is a rooster now?”

“Yes,” I answered.

I was glad the whole argument was over.

Just then the chicken began to quiver. It stood up in my arms and cackled with
laughter. Something warm and round dropped into my hand. It was an egg.

Enrichment Activities
I. Expanding Vocabulary
Look for the following words in the story, and then give their meaning in
the context.
1. Aquiesce
2. Chanticleer
3. Ferocious
4. Gaff
5. Gamecock
6. Mutter
7. Peculiar
8. Quiver
9. Squawk
10. Triumphant
II. Exploring the Text

1. Who were the main characters of the story? Discuss their roles

2. If you were one of the characters of the story, is it important to find out
the gender of the chicken? Why or why not?

3. Explain the significance of the title? If you were given a chance to think
of another title for the story, what would it be? Why?

4. What were the conflicts raised in the story?

5. What was the theme of the story? Explain your answer.

6. How was the theme of the story relevant to the current situation of the
Filipino people? Cite an example,
III. Reflective Writing
Think of a quotation or a wise saying that you can associate in the story
"My Brother's Peculiar Chicken." In a brief essay, explain its relationship to the
theme of the story.