LITERATURE NOTES

INTRODUCTION OF LITERATURE
 Literature - According to Bwalya .L (2006) the term literature is a
latin word ‘litera’ which means Writing Arthur Krystal, a harpers'
writer said: “literary means not only what is written but what is
voiced, what is expressed, what is invented, in whatever form”
 Literature is defined as books and other written works, especially
those considered to have creative or artistic merit or lasting value.
 Hancock (2006) who believe that literature is a body of written
works : the body of written works of a culture, language, people or a
period of time. This definition means that literature is something that
is written and excludes possibilities of oral literature.
 According to Encarta (2009) which says that Literature is the use of
well-chosen words to tell a story through narrative, involving
characters in conflict, or to express an emotion or idea through
artfully arranged images.
 Ezra Pound: "Great literature is simply language charged with
meaning to the utmost possible degree."
 C. S. Lewis: "Literature adds to reality, it does not simply describe it.
It enriches the necessary competencies that daily life requires and
provides; and in this respect, it irrigates the deserts that our lives
have already become."
 Robert Louis Stevenson: "The difficulty of literature is not to write,
but to write what you mean."
Importance of Literature
 “Literature allows a person to step back in time and learn about life
on Earth from the ones who walked before us. We can gather a better
understanding of culture and have a greater appreciation of them.
We learn through the ways history is recorded, in the forms of
manuscripts and through speech itself.” - Sophie Austin
 A Gulf News article says, “In an era of modern media, such as
television and movies, people are misled into thinking that every
question or problem has its quick corrections or solutions. However,
literature confirms the real complexity of human conflict”.
O Sparks empathy and understanding - Reading a book is one of the
best ways to fully immerse your mind into another person’s dialogue
and experiences. Being able to empathise and understand other
people’s feelings is a key aspect of helping you connect to different
regions, races, societies, and periods of time.
O Learn about past lives - History plays a fundamental role in shaping
literature, every novel, play, or poem you read has been influenced by
political context, or a time period, or a relationship from the time it
was written.
O Escapism and possibilities - Reading can take us into different realms
and see other people’s creative thought processes.
 O Building Critical thinking Skills - Reading expands our skills in
finding symbols, make connections, identify themes and learn about
characters. We learn to read between the lines with the different
facets of creative writing.
O Better Writing Skills - When you open a book, when your eyes read
the words and you take in its contents, do you ask yourself: How did
this person imagine and write this? Well, many of those authors,
poets, or playwrights used literature to expand their writing.
Literary Standards
O Universality - Great Literature is timeless and timely
O Artistry - This is the quality that appeals to our sense of beauty.
O Intellectual Value - A literary work stimulates thought. It enriches
our mental life by making us realize fundamental truths about life
and human nature.
O Permanence - A great work of literature endures. Its appeal is lasting.
O Style - This is the peculiar way in which writers sees life, forms his
ideas and expresses them.
O Spiritual Value - Literature elevates the spirit by bringing out moral
values that are essential to society's capacity to inspire.
O Suggestiveness - Great literature moves us deeply and stirs our feeling
and imagination, giving and evoking visions above and beyond the
plane of the ordinary.
What is a literary genre?
 Literary Genre - A genre is a category of literature identified by
form, content, and style. Genres allow literary critics and students to
classify compositions within the larger canon of literature. Genre
(pronounced ˈzhän-rə) is derived from the French phrase genre
meaning “kind” or “type.”
 According to Angela Janovsky, "A genre is a broad term that
translates from the French to mean 'kind' or 'type.' In entertainment,
this can translate to horror, romance, science fiction, etc...Genre, in
broad terms, refers to any works that share certain characteristics."
Major Genres of Literature
O Fiction - Merriam Webster defines it as, “literature in the form of
prose, especially novels, that describes imaginary events and people.”
O Non Fiction - Literary nonfiction, according to Brittany Cross, is a
genre that uses literary devices to imitate a narrative. This means it
often reads like a story, except unlike fiction, the story is true. The
characters are real people and the plot is based on real events.
Sub genres of Fiction
O Poetry - Poetry is a type of literature based on the interplay of words
and rhythm.
O Short Story - A short story is a fully developed story which is shorter
than a novel and longer than a fable. It typically takes just a single
 sitting for reading. Short Story focuses on the incidents bigger or
smaller and evokes strong feelings from its readers.
Types of short stories:
O Fable - Fables are stories that feature animals, plants or forces of
nature as characters. There is a moral lesson explicitly expressed at
the end of the story.
O Fairy Tale - Fairy tales are folktales that feature imaginary
characters such as fairies, giants or talking animals. The stories tend
to be about royalty and the events are magical.
O Folktales - Folktales include a wide range of traditional narratives
including myths, legends, and tales about ordinary people.
O Oral Tradition - These are passed on stories by word of mouth.
Sub genres of Fiction
O Novel - A Novel is a long narrative work of fiction with some realism.
It is often in prose form and is published as a single book.
Types of Novel:
O Romance - These stories are about a romantic relationship between
two people. They are characterised by sensual tension, desire, and
idealism.
O Fantasy -These stories deal with kingdoms as opposed to sci-fi, which
deals with universes.
O Science Fiction - This genre incorporates any story set in the future,
the past, or other dimensions.
O Speculative Fiction - These stories are created in worlds unlike our
real world in certain important ways. This genre usually overlaps one
or more of the following: science fiction, fantasy fiction, horror
fiction, supernatural fiction, superhero fiction, utopian and dystopian
fiction, apocalyptic and post-apocalyptic fiction, and alternate
history.
O Suspense/Thriller - A character in jeopardy dominates these stories.
This genre involves pursuit and escape.
O Young Adult - Young Adult (YA) books are written, published, and
marketed to adolescents and young adults. These are generally
coming-of-age stories, and often cross into the fantasy and science
fiction genres.
O New Adult - New Adult (NA) books feature college, rather than
school-aged, characters and plotlines. It explores the challenges and
uncertainties of leaving home and living independently for the first
time.
Sub genres of Fiction
O Drama/Play - According to R. Longley, "In literature, a drama is the
portrayal of fictional or non-fictional events through the performance
of written dialog (either prose or poetry). Dramas can be performed
on stage, on film, or the radio. Dramas are typically called plays, and
their creators are known as “playwrights” or “dramatists.”
Different types of Drama:
O Comedy - Lighter in tone, comedies are intended to make the
audience laugh and usually come to a happy ending.
O Tragedy - Based on darker themes, tragedies portray serious subjects
like death, disaster, and human suffering in a dignified and thought-
provoking way.
O Farce - Featuring exaggerated or absurd forms of comedy, a farce is a
nonsensical genre of drama in which characters intentionally
overreact and engage in slapstick or physical humor.
O Melodrama - An exaggerated form of drama, melodramas depict
classic one-dimensional characters such as heroes, heroines, and
villains dealing with sensational, romantic, and often perilous
situations.
O Opera - This versatile genre of drama combines theater, dialogue,
music, and dance to tell great stories of tragedy or comedy.
O Docudrama - A relatively new genre, docudramas are dramatic
portrayals of historic events or non-fictional situations.
Sub genres of Non Fiction
O Biography - An account of a person's life written by someone else.
O Autobiography - Story of one's life written by that person
O Memoir - A record of facts and events concerning a particular subject
or period usually written from the writer's personal knowledge,
experience and observations
O Essay - A literary composition that is shorter and less detailed than a
thesis, expresses and author's opinions and is informal and personal
in tone
O Article - Prose composition forming an independent part of a larger
publication
O Diary - Daily record of events, especially of a writer's personal
experiences
O Speech - Type of nonfiction which uses sound devicess to express
ideas, facts or feelings.
O Letter - Written or printed message usually of a personal or business
nature sent by one person or an organization to another
ELEMENTS OF LITERATURE
 Setting - the time and place in which the story takes place
 Character - A person, animal, being, creature, or thing in a story.
Writers use characters to perform the actions and speak dialogue,
moving the story along a plot line.
Characterization:
 Major Characters - 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 her.
O Protagonist – the main character in the story
O Antagonist – the character or force that opposes the protagonist
O Foll – character who provides a contrast to the protagonist
O “A character who changes inside as a result of what happens to him is
referred to in literature as a DYNAMIC character. A dynamic
character grows or progresses to a higher level of understanding in
the course of the story.”
 Minor Characters - Almost always flat or two-dimensional
characters. They have only one or two striking qualities.
 Plot - All fiction is based on conflict and this conflict is presented in a
structured format
 Exposition - The introductory material which gives the setting,
creates the tone, presents the characters, and presents other facts
necessary to understanding the story.
 Foreshadowing - The use of hints or clues to suggest what will happen
later in the story.
 Inciting Force - The event or character that triggers the conflict.
 Conflict - The essence of fiction. It creates plot. The conflicts we
encounter can usually be identified as one of four kinds. (Man
versus...Man, Nature, Society, or Self)
O Man versus Man - Conflict that pits one person against another.
O Man versus Nature - A run-in with the forces of nature.
O Man versus Society - The values and customs by which everyone else
lives are being challenged.
O Man versus Self - Internal conflict. Not all conflict involves other
people. Sometimes people are their own worst enemies.
 Rising Action - A series of events that builds from the conflict. It
begins with the inciting force and ends with the climax.
 Crisis -The conflict reaches a turning point. At this point the opposing
forces in the story meet and the conflict becomes most intense. The
crisis occurs before or at the same time as the climax.
 Climax - The climax is the result of the crisis. It is the high point of
the story for the reader. Frequently, it is the moment of the highest
interest and greatest emotion. The point at which the outcome of the
conflict can be predicted.
 Falling Action - The events after the climax which close the story.
 Resolution (Denouement) - Rounds out and concludes the action.
 Tone - The author’s attitude, stated or implied, toward a subject.\
 Point of View -Refers to who is telling or narrating a story.
O 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 can’t tell us thoughts of other characters.
O Third-Person Objective - The narrator is an outsider who can report
only what he or she sees and hears. This narrator can tell us what is
happening, but he can’t tell us the thoughts of the characters.
O Third-Person Limited - The narrator is an outsider who sees into the
mind of one of the characters.
O Omniscient - The narrator is an all-knowing outsider who can enter
the minds of more than one of the characters.
  Mood - The climate of feeling in a literary work, mostly implies about
the feeling of the reader towards the text.
 Symbolism - A person, place or object which has a meaning in itself
but suggests other meanings as well.
 Theme - The main idea or underlying meaning of a literary work.
 Imagery - Language that appeals to the senses. Descriptions of people
or objects stated in terms of our senses.
What is Literary Criticism?
This the study, evaluation, and interpretation of literature. Literary
criticism, the reasoned consideration of literary works and issues. It applies,
as a term, to any argumentation about literature, whether or not specific
works are analyzed.
Four Major Types
Mimetic Theories
O Name from mimesis, Greek for ‘imitation’. From Plato, who wrote
that poetry is mimesis. That is, poetry is a mirror that reflects the
world. Cf. Hamlet’s advice to the actors: “Suit the action to the word,
the word to the action, with this special observance, that you o’erstep
not the modesty of nature; for anything so o’erdone is from the
purpose of playing, whose end both at the first, and now, was and is,
to hold as ‘twere the mirror up to nature . . . .”
O However, Plato intended this definition of poetry as a criticism of it.
In Plato’s philosophy the world itself is illusory, an imitation of the
perfect Forms that constitute reality; so poetry becomes an imitation
of an imitation. And both in Plato and for centuries afterward it was
not difficult to show that (at various times) philosophy, or religion, or
science could do a better job of describing reality than poetry does.
Since the 19th century the mimetic view of poetry has been argued
mainly by proponents of realism in art. Key idea: ‘the tendency to
look to the nature of the given universe as the clue to the nature of
poetry’. Key words: imitation, image, reflection, feigning,
counterfeiting, copy, representation. “An idea is a copy of a copy of
reality.”
Pragmatic Theories [emphasize the audience]
O The poet deliberately uses mimesis to achieve certain effects in the
reader. Horace: ‘Poets wish either to instruct or to please’. Other
purposes include moral improvement, emotion, and delight. Samuel
Johnson: ‘It is always a writer’s duty to make the world better’ [i.e.,
by telling stories that result in the moral improvement of their
readers]. Pragmatic critics regard the poem as ‘a made object, the
product of an art or craft . . . deliberately designed to achieve
foreknown ends’ [i.e., not unconscious creations whose meaning or
effects are wholly or partially unknown to their creators]. Pragmatic
critics allow mimesis to include fantasies and absurdities if they
achieve a desired effect such as delight in the reader.
Expressive Theories [emphasize the poet]
 O ‘In the expressive orientation, the poet moves into the center of the
scheme . . .‘. Source: On the Sublime, by Longinus, which became
known in the late 1600s. Longinus defines sublimity ‘by its effect of
ekstasis, or transport’, i.e., the poet and then the reader are ‘carried
away’ by the poem. The most important source of this effect is the
author’s “vehement and inspired passion”. “Sublimity is the echo of a
great soul”, said Longinus [not, as in the pragmatic view, a great
craftsman]. Longinus’s ideas had a huge influence on thinkers
throughout the next century, and became associated with the view
that lyric poetry (not narrative or epic poetry) was the ‘most poetic’
form of language, whose essence was in emotion, not reason. This led
to . . .
O Wordsworth, who made the ‘single most important pronouncement
of the emotive theory of poetry’, wrote that poetry “is the
spontaneous overflow of powerful feelings”. In this view, ‘the source
of the poem is no longer the external world [as in mimetic theories]
but the poet himself; and . . . the subject matter of the poem [is] the
poet’s “feelings” ‘. The word ‘spontaneous’ is important, once again
distinguishing expressive theories from the pragmatic view, in which
the poet/craftsman deliberately aims at certain effects. John Keble
‘described the poetic process as a release, a “safety valve,” for pent-
up feelings and desires’.
Objective Theories [poem as object] [emphasize the poem]
O Based on Aristotle’s idea of a tragedy as ‘subject to internal
requirements . . .which determine the selection, treatment, and
ordering of the parts into an artistic whole. Emphasizes the
perspective of the reader or audience perceiving the poem ‘as a given
object’. Two versions, which often are intermixed: ‘Heterocosmic
model’: ‘each work constitutes a unique, coherent, and autonomous
world’.
O ‘Contemplation model’ (which became ‘art for art’s sake’): ‘each
work is a self-sufficient object that is contemplated disinterestedly for
its own sake. [The word ‘disinterestedly’ is important because it
distinguishes this view from the mimetic and pragmatic ideas of
poetry having a purpose or aim.]
O Thus two of these theoretical approaches—the mimetic and
pragmatic—see literature as having a purpose. The critic’s job, in this
case, is to identify the purpose and judge whether the aim of the poem
has been achieved.
O The other two approaches—the expressive and objective—see
literature as something to be appreciated, contemplated, and
observed. The critic’s job is to examine it carefully and judge it not
with reference to the ‘real world’ or to its effects on the reader or
audience, but strictly on its own terms, as established by the poem
itself.
What is a literary theory?
  “Literary theory” is the body of ideas and methods we use in the
practical reading of
 literature. By literary theory we refer not to the meaning of a work of
literature but
 to the theories that reveal what literature can mean.
 “Literary theory,” sometimes designated “critical theory,” or
“theory,” and now
 undergoing a transformation into “cultural theory” within the
discipline of literary
 studies, can be understood as the set of concepts and intellectual
assumptions on
 which rests the work of explaining or interpreting literary texts.
Different Theories
 Formalism - An interpretive approach that emphasizes literary form
and the study of literary devices within the text. “Formalism” is
perhaps best known is Shklovsky’s concept of “defamiliarization.”
The routine of ordinary experience, Shklovsky contended, rendered
invisible the uniqueness and particularity of the objects of existence.
Literary language, partly by calling attention to itself as language,
estranged the reader from the familiar and made fresh the experience
of daily life.
 New Criticism - “New Criticism” viewed the work of literature as an
aesthetic object independent of historical context and as a unified
whole that reflected the unified sensibility of the artist. “New
Criticism” aimed at bringing a greater intellectual rigor to literary
studies, confining itself to careful scrutiny of the text alone and the
formal structures of paradox, ambiguity, irony, and metaphor,
among others.
 Marxism - Marxist literary theories tend to focus on the
representation of class conflict as well as the reinforcement of class
distinctions through the medium of literature.
 Critical Theory - “Critical theory,” one of the constituent components
of which was a critique of the instrumental use of reason in advanced
capitalist culture. “Critical theory” sees in the structure of mass
cultural forms—jazz, Hollywood film, advertising—a replication of
the structure of the factory and the workplace.
 Structuralism - “Structuralism” can be viewed as an extension of
“Formalism” in that that both “Structuralism” and “Formalism”
devoted their attention to matters of literary form (i.e. structure)
rather than social or historical content; and that both bodies of
thought were intended to put the study of literature on a scientific,
objective basis. “
 Post Structuralism - Post-structuralism identifies a way of theorizing
that belongs equally to literary theory (the systematic study of
literary texts), philosophy (especially the study of how thought works,
insofar as thinking is carried out in language), and critical theory
(emancipatory social science via discourse analysis and ideology
critique). The starting points for a post-structural theoretical vision
 within this enormous terrain of interdisciplinary scholarship are
language, signification, and semiotics.
 New Historicism - New Historicism insists—contra formalism—that
literature must be understood in its historical context.
 Cultural Materialism - Cultural materialism attempts to account for
the origin, maintenance, and change of sociocultural systems.
 Ethnic Studies - “Ethnic Studies” concerns itself generally with art
and literature produced by identifiable ethnic groups either
marginalized or in a subordinate position to a dominant culture.
 Post Colonial Criticism - “Postcolonial Criticism” investigates the
relationships between colonizers and colonized in the period post-
colonization.
HISTORY OF PHILIPPINE LITERATURE
PRE-SPANISH ERA
RIDDLES - These are statements that contain superficial words, but they
function figuratively and as metaphors, and are in the form of questions.
These are questions that demand deeper answers. Deals with everyday life.
Usually has mundane things as answers. This is used in the past as a form of
game in small or large gatherings.
Bisaya
O Baboy sa lasang, ang tunok puro lansang. (A wild pig of the forest is
covered with spikes.)
O Answer: Nangka (Jackfruit)
Chabacano
O Tagia que tagia, hende ta penetra. (You keep on slashing it, but it
does not penetrate.)
O Answer: Agua (Water)
Tagalog
O Narito, narito ngunit hindi mo makita. (It's here, it's here but you
cannot see.)
O Answer: Hangin (wind)
PROVERBS - These are wise statements Usually given by parents or elders
of the community There is belief that experience is the best
Tagalog
O A broom is sturdy because its strands are tightly bound.
O Matibay ang walis, palibhasa'y magkabigkis.
O (People gain strength by standing together.)
O It is hard to wake up someone who is pretending to be asleep.
O Mahirap gisingin ang nagtutulog-tulugan.
O (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.)
Bisaya
 O Bisan ang ulan may paglurang.
O Even the rain abates.
O (Everything has an end)
O Ang gaba dili magsaba!
O Karma comes without a noise.
O (Punishment for one's wrongdoings or transgressions will come
unexpectedly)
Pre-Hispanic
Existed before the Spanish Occupation in the 1500s. Oral in nature (full of
lessons: ideas about life, blessings and its consequences). Contains ideas
from birth to the grave Most works are usually local native town folk
Famous forms:
 Oral Literature
O Riddles
O Proverbs
 Folk Songs
O Lullabies
O Drinking Songs
O Love Songs
O Songs of Death
O Religious Songs
 Folk Tales
O Myths
O Legends
O Fables
O Epics
FOLK SONGS -Folk lyrics that are usually chanted. Usually contain ideas
on aspirations, hopes, everyday life and expressions of love for loved ones.
Bounded by the learning of good morals. It is easy to understand because it
is straightforward and not figurative in nature.
Forms
 Lullabies - These are locally known as the Hele. These are sung to put
babies to sleep.
O Ili-ili, Tulog Anay
O Ili-ili tulog anay,
O Wala diri imong nanay.
O Kadto tienda bakal papay.
O Ili-ili tulog anay.
 Drinking Songs - These are locally known as tagay and are sung
during drinking sessions.
O Condansoy, inom tuba laloy
O Di li ko mo inom
O Tuba pait aslom
O Condansoy, inom tuba laloy
 O Di li ko mo inom
O Tuba pait aslom
 Love songs - It can also be called as "courtship songs" or in Filipino
terms, "harana"
 Religious Songs - Songs or chants that are usually given during
exorcisms and thanksgiving during good harvest.
 Songs of Death - Lamentations that contain the roll of good deeds
 FOLK TALES - These are stories of native Filipinos. These deal with
the power of nature - personified, their submission to a deity, usually
Bathala - and how this deity is responsible for the blessings and
calamities. These also tacke about irresponsibility, lust, stupidity,
deception and fallibility that eventually leads to the instilling of good
morals.
Forms
 Myths - These tackle the natural to strange occurences of the earth
and how things were created with an aim to give an explanation to
things.
O E.g.: The Story of Bathala, The Creation Story
 Legends - Through legends, the natives understood mysteries around
them.
O E.g.: The Legend of Maria Makiling, The Legend of Sampaguita
 Fables - Short or brief stories that cater the children of the native
Filipinos and are usually bounded by good manners and right
conduct. These stories use animals as characters that represent a
particular value or characteristic.
O E.g.: Ang Kuneho at ang pagong, Si Juan Tamad
 Epics - Are very lengthy narratives that are based on oral traditions.
These contain encounters of fighters, stereotypical princes or heroes
that save a damsel in distress.
O E.g.: Hinilawod, Darangen
SPANISH ERA (1521-1898)
 The start of the Philippine's ore colorful history took place in March
6, 1521 when Ferdinand Magellan docked on the shores of
Homonhon.
 Filipinos were called two things: "Taga-Bayan" who is considered
urbane and civilized; while the other is "Taga-Bukid" or "Taga-
Bundok" who is called a Bruto Salvage (Savage Brute) or Indio and
were the ones who lived far from the center of the Spanish power.
Forms
 RELIGIOUS LITERATURE - Revolves around the life and the death
of Jesus
 Pasyon - It is about the passion (journey and suffering) and the death
of Jesus Christ.
 Senakulo - It is the reenactment of the Pasyon
 Komedya - It depicts the European society through love and fame,
but can also be a narrative about a journey.
  SECULAR OR NON-RELIGIOUS LITERATURE - Revolves around
tales of valiance and adventure
 Awit - These are tales of chivalry where a knight saves a princess.
O E.g.: Florante at Laura
 Korido - A metrical tale or a tale that follows the structure of a poem
O E.g.: Ang Ibong Adarna
 Prose Narratives - A form of writing in which the work is written in
prose, instead of poetry and tells a definitive story through actions.
During this era, Filipino writers highlight proper decorum.
O E.g.: Pagsusulatan ng Dalawang Binibini na si Urbana at Feliza
 PROPAGANDA LITERATURE - These were in the forms of satires,
editorials and news articles that aimed to attack the Spanish Rule.
The propaganda trinity is composed of Dr. Jose Rizal, Marcelo H. Del
Pilar and Graciano Lopez Jaena.
O E.g.: Ang Fray Botod by G.L. Jaena, La Hija Fraile by G.L. Jaena,
Noli Me Tangere by Dr. Jose Rizal
 REVOLUTIONARY LITERATURE - Exposéthat sparked revolution
and resistance in the hearts of Filipinos.
O E.g.: Liwanag at Dilim by Emilio Jacinto, El Filibusterismo by Dr.
Jose Rizal
 Publications - Printed decrees of the Filipino's revolution against the
Spaniards
O E.g.: La Independecia, La Republica Filipina, La Libertad
THE AMERICAN PERIOD
THE AMERICAN PERIOD (1900-1942)
 The Philippines had a great leap in Education and Culture.
 The use of English alongside Filipino was practiced.
 The Philippines Public School system was introduced.
 Free public instruction was given to the Filipinos.
FORMS
 Poetry - Poetry under the American rule still followed the style of the
old, but had contents that ranged from free writing to societal
concerns under the Americans.
O E.g.: Mga Gintong Dahon by Jose Corazon de Jesus (1920)
 Drama - Mostly portrayed in the American period to degrade the
Spanish rule and to immortalize the heroism of the men who fought
under the Katipunan.
O E.g.: Walang Sugat by Severino Reyes (1902)
 Remake Novels - took up Dr. Jose Rizal's portrayal of social
conditions by colonial repression.
O E.g.: Madaling Araw by Inigo Regalado (1909)
THE JAPANESE PERIOD
THE JAPANESE PERIOD (1941-1945)
 The Philippine literature came into a halt.
  The use of the English language was forbidden and the use of the
Filipino language was mandated under the Japanese rule.
 For some, this was a problem but to most writers, it was a blessing in
disguise.
 Almost all news papers were stopped except for some.
 Filipino literature was given a break during this period.
Forms
 Poetry - The common topic of most poems during the Japanese
occupation was nationalism, country, love and life in the barrios,
faith, religion and the arts. Haiku was also introduced to Filipino
poetry writing.
 Fiction - The field of the short story widened during the Japanese
Occupation. Many wrote short stories.
O E.g.: Lunsod, Nayon at Dagat-dagatan by NVM Gonzales
 Drama - The drama experienced a lull during the Japanese period
because movie houses showing American films were closed. Many of
the plays were reproduction sof english plays to Tagalog.
O E.g.: Sa Pula, sa puti by Francisco Rodrigo, Bulaga by Clodualdo del
Mundo
 Newspapers - Writings that came out during this period were
journalistic in nature.
O E.g.: Liwayway, Radio Program (Voice of Freedom)
 Essays - Essays were composed to glorify the Filipinos and at the
same time to figuratively attack the Japanese.
O E.g.: La Naval de Manila by Nick Joaquin
THE CONTEMPORARY & POST MODERN PERIOD
THE REBIRTH OF FREEDOM (1946-1970)
 The American returned in 1945. Filipinos rejoiced and guerillas who
fled to the mountain joined the liberating American Army.
 On July 4, 1946, the Philippines regained its freedom and the Filipino
flag waved joyously alone.
 The State of Literature during this Period - The early post-liberation
period was marked by a kind of "struggle of mind and spirit" posed
by the sudden emancipation from the enemy and the wild desire to
see print.
 The New Filipino Literature during this Period - Philippine
Literature in Tagalog was revived during this period. most themes in
the writings dealt with Japanese brutalities, of the poverty of life
under the Japanese government and the brave guerilla exploits.
Works:
O Heart of the Islands (1947) - A collection of poems by Manuel Viray
O Philippines Cross Section (1950) - A collection of prose and poetry by
Maximo Ramos and Florentino Valeros
O Prose and Poems (1952) by Nick Joaquin
O Who Spoke Courage in His Sleep by NVM Gonzales
 O Other notable poets: Edith Tiempo, Jose Garcia Villa, Toribia Mano
PERIOD OF ACTIVISM (1970-1972)
 Many young people became activists to ask for changes in the
government.
O Keen were the writings of some youth who were fired with
nationalism in order to emphasize the importance of their petitions.
 The Literary Revolution
O The Youth became completely rebellious during this period.
O Campus newspapers showed rebellious emotions.
 Writing during the Period of Activism
O The irreverence for the poor reached its peak during this period of
the mass revolution.
O Bomba films that discredit our ways as Filipinos started to come out.
PALANCA AWARDEES FOR LITERATURE IN ENGLISH
 Established in 1950, the Palanca Memorial Awards for Literature
had been giving cash prizes for short story, poetry and one-act play
writing as an incentive to Filipino writers. He prizes come from La
Tondena, Inc., the firm founded by the late Carlos Palanca Sr.
PERIOD OF THE NEW SOCIETY (1972-1980)
 The period of the New Society started on September 21,1972. The
Carlos Palanca Awards continued to give annual awards.
O Almost all themes in most writings dealt with the development or
progress of the country.
O The New Society tried to stop pornography or those writings giving
bad influences on the morals of the people.
 Filipino Poetry during the Period of the New Society
O Themes of most poems dealt with patience, regard for native culture,
customs and the beauties of nature and surroundings.
 The Play under the New Society
O The government led in reviving old plays and dramas, like the
Tagalog Zarzuela, Cenaculo and the Embayoka of the Muslims which
were presented in the rebuilt Metropolitan theater, the Folk Arts
Theater and the Cultural Center of the Philippines.
 Radio and Television
O Radio continued to be patronized during this period. Play series
became popular.
 Filipino Films
O A yearly Pista ng mga Pelikulang Pilipino (Yearly Filipino Film
Festival) was held during this time. During the festival which lasted
usually for a month, only Filipino films were shown in all theaters in
Metro Manila.
 Maynila sa mga Kuko ng Liwanag (Manila in the Claw of Light)
O Written by Edgardo Reyes
O Directed by Lino Brocka
 Insiang
 O Written by Mario O'hara
O Directed by Lino Brocka
 Comics, Magazines and Other Publications
O During this period of the New Society, newspapers donned new
forms. News on economic progress, discipline, culture, tourism and
the like were favored more than the sensationalized reporting of
killings, rape and robberies.
 Overview of the Literature during the New Society
O Bilingual Education
O Period of Martial Rule in September 1972
O The focus of education and culture was on problems of national
identity, on re-orientation, renewed vigor and a firm resolves to carry
out plans and programs.
PERIOD OF THE THIRD REPUBLIC (1981-1985)
 After ten years of military rule and some changes in the life of the
Filipino which started under the New Society, Martial Rule was at
last lifted on January 1981.
 Filipino Poetry
O Poems during this period of the Third Republic were romantic and
revolutionary.
O The supplication so the people were coached in fiery, colorful, violent,
profane and insulting language.
 Filipino Songs
O Many songs dealt with topics of grief, poverty, liberty about
aspirations for freedom, love of God, of country and of fellowmen.
 Philippine Films during the period
O The yearly Festival of Filipino Films continued to be held during this
period. The people's love for sex films also was unabated.
 Manila by Night (City after Dark)
O Written by: Ishmael Bernal, Ricky Lee
O Directed by: ishmael Bernal
 Himala
O Written by: Ricky Lee
O Directed by: Ishmael Bernal
POSTMODERN (1986-1999)
 The Filipino people regained their independence which they lost
twenty years ago.
 In the span of four days from February 21-25, 1986, the so-called
People Power (Lakas ng Bayan) prevailed. Together, the people
barricaded the
 streets petitioning the government for changes and reforms.
 On Newspapers and Other Publications
O Newspapers which were once branded crony newspapers became
instant opposition papers overnight.
O E.g.: Bulletin Today
 On Books
 O The Philippine revolution of 1986 and the fire of its spirit that will
carry the Filipinos through another epoch in Philippine history is still
being documented just as they have been in the countless millions
who participated in body and spirit in its realization.
O E.g.: Trip to Quiapo by Ricky Lee (1998)
Watch: Fathers and Sons, a play by Nick Joaquin.
CLOSE READING: Bonsai by Edith Tiempo
BLACKOUT POETRY
“A blackout poem is when a poet takes a marker (usually black marker) to
already established text--like in a newspaper—and starts redacting words
until a poem is formed.” – ROBERT LEE BREWER
According to John DePasquale, Blackout poems can be created using the
pages of old books or even articles cut from yesterday’s newspaper. Using
the pages of an existing text, blackout poets isolate then piece together
single words or short phrases from these texts to create lyrical
masterpieces.
1. Scan the page - Keep an eye out for an ANCHOR word
2. Use a pencil - Lightly circle any words that connect to the anchor
word
3. List all the circled words - On a separate piece of paper, list the words
in the order
4. Select words - Without changing their order on the list, and piece
them together to create the lines of a poem
5. Return to the page of text - circle only the words you selected for the
final poem
6. Add an illustration - Add design to the page of text that connects to
your poem
SPOKEN WORD POETRY (slam poetry)
“Performance-based poetry that is focused on the aesthetics of word play
and storytelling” (Alfonso et.al, "Spoken Word; Integrating Discourse into
Contemporary Literature)
Ex. Human of New York