Lesson 1: Pre-Colonial Philippine Literature

The setting...
The oral literatures of the precolonial Filipinos reflect their community. The themes of
their literature were customarily the common experiences of the people -food-gathering,
creature and objects of nature, work in the home, field, forest or sea. From this, we can learn
that the early Filipinos lived in villages frequently found along sea coasts, river banks,
mountains- close to the major sources of food. Another major characteristic of the community
as revealed in their literatures, such as in the “Biag ni Lam-ang”, is the “village system” that
has affected their socio-political structure during the early times.

On language...
The Philippine precolonial literatures are mostly poetic-- contain rhyme, rhythm, and
rhetorical figures of speech that show that the early Filipinos were aware of the features of
their language. Thousands of maxims, proverbs, epigrams, and the like have been listed by
many different collectors and researchers from many dialects. Writing system in the different
parts of the country was already evident during the period.

Going ethnic...
Early Filipino literature represents ethnic groups’ heritage. The language of oral
literature, unless the piece was part of the cultural heritage of the community like the epic,
was the language of daily life. Almost all the important events in the life of the ancient
peoples of the country were connected with some religious observance and the rites and
ceremonies.

Literature and society...

The culture of the society is mirrored in literature and in this way, in all languages and
at all times there has been a close interaction between the two. Literature has played a large
role in the preservation of cultural heritage. It makes sure that the culture of the society is
transcended from one generation to another.

ACTIVITY 1

1 KLOF ONSG (2 Leron, leron sinta Pagdating sa dulo

Literary Form Example

words) Buko ng papaya Nabali ang sanga

Dala-dala’y buslo Kapos ka palaran
Sisidlan ng bunga Humanap ng iba.
2 PCIE Biag ni Lam-ang, narrates the adventures of the exceptional
hero, Lam-ang, who exhibits extraordinary powers at an early
age. - Ilocano poem
3 SHCANT The Hudhud is traditionally performed by the Ifugao
community, which is well known for its rice terraces extending
over the highlands of the northern island of the Philippine
archipelago. It is practised during the rice sowing season, at
harvest time and at funeral wakes and rituals
4 DREILD Maliit pa si Kumpare, nakakaakyat na sa tore.
5 ENLGED The first Filipino man and woman were born from a bamboo
stalk. The man was named Malakas, or "Strong One"; the
woman, Maganda, or the "Beautiful One."
6 OFLK EALT
(2words)
The Turtle and the Monkey (Ang Pagong at ang Matsing)- It is all about a turtle
and a monkey who plant halves of a banana tree. Thinking that the upper part
with leaves would bear fruit soon, the greedy monkey plants the upper half but
it withers. The tortoise, on the other hand, gets the lower portion with the
roots, but it flourishes and soon is laden with fruits. The tortoise, however,
cannot climb the tree to gather the fruits, so the monkey volunteers to pick
them. But he eats all the bananas while he is up on the tree, throwing the
 peeling down on the tortoise. Angry, the tortoise plants some pointed nails
around the tree and hides under a coconut shell. The monkey comes down and
got wounded. As punishment he gives the tortoise two choices: to be pounded
with a mortar or be thrown into the water. The clever tortoise chooses the
mortar and deceives the monkey into thinking that he is afraid of drowning. The
monkey throws the tortoise in the water, where the latter soon surfaces
laughing. (Eugenio 1989:7-9)

ACTIVITY 2. Answer the following questions on a one-half sheet of paper.

1. What early Filipino trait is reflected in the Ilonggo lullaby “Ili-ili Tulog Anay”?
Ili-ili, tulog anay, ( Little one, little one, sleep now)
Wala diri imong Nanay, ( Your mother is not here)
Kadto tienda bakal papay, (She went to buy some bread)
Ili-ili, tulog anay. (Little one, little one, sleep now.)
- Hiligaynon or Ilonggo lullaby

2. Filipino epic poetry is considered to be the highest point of development for Philippine folk literature,
encompassing narratives that recount the adventures of tribal heroes. Epics do not only portray the bravery
of the early Filipinos, but these poems also tell more about their cultures which include about their socio-
political structures. Discuss three (3) pre-colonial Filipino cultures depicted in Biag ni Lam-ang. Refer to the
following summary of this Filipino epic.

SYNOPSIS OF BIAG NI LAM-ANG

Namongan gives birth to a baby with incredible strength and courage, named Lam-
ang. The boy asks his mother about his father’s whereabouts and learns that he has gone to
fight the Igorot. Lam-ang arms himself with charms and decides to look for his father. From
a dream, he learns that his father, Don Juan Panganiban, had been killed.
Later, Lam-ang finds the Igorot in a sagang, a feast celebrating a successful
headhunting expedition. His father’s head is displayed in the feast. Lam-ang slays them all
with his spear and mutilates the last among them.
When Lam-ang returns home, 99 maidens wash his hair in the river. For his shampoo,
he burns so many rice straw that the communities near the river are alarmed by the smoke.
The dirt from his hair kills all the fishes in the river. He then kills a crocodile and carries it
on his shoulder ashore amidst the applause of his companions.
Lam-ang hears about a beautiful maiden named Ines Cannoyan, the daughter of the
richest man in the town of Kalanutian. He tells his mother of his desire to court the maiden.
Although his mother discourages him, he goes anyway, dressed in gold and accompanied by
his pet rooster and white dog. The giant Sumarang blocks his way and belittles him. Lam-ang
defeats him in a duel and hurls him nine hills away. Later, Sarindadan tries to seduce him
but Lam-ang rejects her advances.
Reaching Kalanutian, he impresses Ines with his magic. His rooster crows and topples
a small outhouse. His dog barks and the outhouse is rebuilt. Ines invites him to the house
where the rooster acts as Lam-ang’s spokesperson. Ines’ parents ask for a bride price, which
Lam-ang agrees to give.
Lam-ang returns home to prepare for the wedding and the presents. He and his
townsfolk sail on two golden ships to Kalanutian where Lam-ang and Ines have a Catholic
wedding. The townspeople board the two ships to Nalbuan, Lam-ang’s birthplace, to
continue the celebration.
After the celebration, Lam-ang agrees to hunt rarang, a shellfish. He is swallowed by a
giant fish, called berkakang, as he has dreamt so. However, a diver recovers his bones. The
pet rooster flaps its wings and resurrects Lam-ang. He then rewards the diver and lives
happily with his wife and pets. — CCP Encyclopedia of Philippine Art: Philippine Literature, Volume 9
(Cultural Center of the Philippines, 1994)
Lesson 2: Colonial Period Philippine Literature

Geographic Context: Literature expresses the temper of the times. It shows how the
perceptions of the people regarding the world—places, regions, and environments—change
over time. Let’s see how these changes are manifested by reviewing the themes of the
literatures produced during the colonial period. Review these subjects of literature, and try
to figure out what were the perceptions of the Filipinos during these eras.
During the so-called Formative years, Philippine literature was
religious in nature. However, in the ‘nationalist stage’, literary
works of the ilustrados revealed the grievances against the
Spanish
Spaniards and the nationalist aspirations of the Filipinos.
The early writings in English were characterized by melodrama,
unreal language, and obvious emphasis on the traditions. The
literary content later on accepted themes that express the search
for Filipino identity, merging the Spanish and American influence
American

to the Philippine culture.

The common themes of most poems were nationalism, life in the
barrios, faith, religion, and arts.
Japanese
Note: Common theme during the periods is the longing of Filipinos for independence.

Linguistic Aspect
Spanish and Tagalog were two of the major languages used during this period.
However, in some parts of the country, indigenous languages were still used in
Spanish
literature. The Spanish period also marked the production of literature in print with
the advent of printing press during the era.
Free education and English as a medium of instruction in all levels in public schools
have greatly affected the production of Philippine literature during this time.
Through the free public education, information became accessible to Filipinos, and
English used as a medium of instruction introduced Anglo-American culture to the
American Filipinos. On the other hand, the peak of the Filipino literary tradition due to
historical events did not altogether hinder literary production in the native or
indigenous languages. In fact, the early period of the 20th century was notable for
the major literary outputs of all major languages in the various literary forms. Most
literary works took the form of free verse, modern short stories, and critical essays
Filipino poets wrote free verse and used simple language. Vernacular literature was
Japanese popular during this period because of the strict prohibitions on the use of English in
any form of writing and also due to suppression of the freedom of speech.

Ethnic Dimension
Spanish The colonial experiences of the Philippines have greatly influenced the preservation
American of the nation’s literary cultural heritage. During the pre-colonial period, most
Japanese literatures were reflective of the people’s beliefs and superstitions as manifested in
various legends, folk tales and other literary forms. These can be characterized as
the people’s responses to their environment. However, most of those forms of
literature are no longer available because of cultural deterioration during
colonization. The literature during the period showed a fusion of the different
cultures- Filipino-Hispanic, Filipino-American, and Filipino-Japanese.
Dimensions of Philippine Literary History
Geography- the study of places and the relationships between people and their environments
Language- a system of conventional spoken, manual (signed), or written symbols by which
individuals express themselves
Ethnicity- a notion that refers to social entities sharing real or putative ascriptive features
like a common origin or cultural-linguistic legacy which assumedly command special
collective commitment, as well as their retention and transmission
Here is an example on how to identify the geographic, linguistic and ethnic dimensions of a literary piece. Read the
epic below and note the dimensions:
Indarapatra at Sulayman (Epikong Mindanao)
By: Bartolome del Valle (Region XII- SOCCSKSARGEN)
Si Indarapatra ay ang matapang na hari ng Mantapuli. Nabalitaan niya ang malimit na
pananalakay ng mga dambuhalang ibon at mababangis na hayop sa ibang panig ng Mindanao. Labis
niyang ikinalungkot ang mga nangyayaring ito sa mga naninirahan sa labas ng kaharian ng Mantapuli.
Ipinatawag ni Indarapatra ang kanyang kapatid na si Sulayman, isang matapang na kawal.
Inutusan ni Indarapatra si Sulayman upang puksain ang mga ibon at hayop na namiminsala sa mga
tao. Agad na sumunod si Sulayman. Bago umalis si Sulayman, nagtanim si Indarapatra ng halawan sa
may durungawan. Aniya kay Sulayman, Sa pamamagitan ng halamang ito ay malalaman ko ang
nangyayari sa iyo. Kapag namatay ang halamang ito, nanganaghulugang ikaw ay namatay.”
Sumakay si Sulayman sa hangin. Narating niya ang Kabilalan. Wala siyang nakitang tao.
Walang anu-ano ay nayanig ang lupa, kaya pala ay dumating ang halimaw na si Kurita. Matagal at
madugo ang paglalaban ni Sulayman at ni Kurita. Sa wakas, napatay rin ni Sulayman si Kurita, sa
tulong ng kanyang kris. Nagtungo naman si Sulayman sa Matutum. Kanyang hinanap ang halimaw na
kumakain ng tao, na kilala sa tawag na Tarabusaw. Hinagupit nang hinagupit ni Tarabusaw si
Sulayman sa pamamagitan ng punongkahoy. Nang nanlalata na si Tarabusaw ay saka ito sinaksak ni
Sulayman ng kanyang espada.
Pumunta si Sulayman sa Bundok ng Bita. Wala rin siyang makitang tao. Ang iba ay nakain na
ng mga halimaw at ang natirang iba ay nasa taguan. Lumingalinga pa si Sulayman nang biglang
magdilim pagkat dumating ang dambuhalang ibong Pah. Si Sulayman ang nais dagitin ng ibon.
Mabilis at ubos lakas ng tinaga ito ni Sulayman. Bumagsak at namatay ang Pah. Sa kasamaang palad
nabagsakan ng pakpak ng ibon si Sulayman na siya niyang ikinamatay.
Samantala, ang halaman ni Sulayman sa Mantapuli ay laging pinagmamasdan ni Indarapatra.
Napansin niyang nanlata ang halaman at alam niyang namatay si Sulayman.
Hinanap ni Indarapatra ang kanyang kapatid. Nagpunta siya sa Kabalalan at nakita niya ang
kalansay ni Tarabusaw. Alam niyang napatay ito ng kapatid niya. Ipinagpatuloy ni Indarapatra ang
paghahanap niya kay Sulayman. Narating niya ang bundok ng Bita. Nakita niya ang patay na ibong
Pah. Inangat ni Indarapatra ang pakpak ng ibon at nakita ang bangkay ni Sulayman. Nanangis si
Indarapatra at nagdasal upang pabaliking muli ang buhay ni Sulayman. Sa di kalayua'y may nakita
siyang banga ng tubig. Winisikan niya ng tubig ang bangkay at muling nabuhay si Sulayman. Parang
nagising lamang ito mula sa mahimbing na pagtulog. Nagyakap ang magkapatid dahil sa malaking
katuwaan.
Pinauwi na ni Indarapatra si Sulayman. Nagtuloy pa si Indarapatra sa Bundok Gurayu. Dito'y
wala ring natagpuang tao. Nakita niya ang kinatatakutang ibong may pitong ulo. Sa tulong ng
kanyang engkantadong sibat na si juris pakal ay madali niyang napatay ang ibon.
Hinanap niya ang mga tao. May nakita siyang isang magandang dalaga na kumukuha ng tubig
sa sapa. Mabilis naman itong nakapagtago. Isang matandang babae ang lumabas sa taguan at
nakipag-usap kay Indarapatra. Ipinagsama ng matandang babae si Indarapatra sa yungib na
pinagtataguan ng lahat ng tao sa pook na iyon. Ibinalita ni Indarapatra ang mga pakikilaban nilang
dalawa ni Sulayman sa mga halimaw at dambuhalang ibon. Sinabi rin niyang maaari na silang
lumabas sa kanilang pinagtataguan. Sa laki ng pasasalamat ng buong tribu, ipinakasal kay
Indarapatra ang anak ng hari, ang magandang babaeng nakita ni Indarapatra sa batisan.
Directions: Identify the dimensions of the literary text given. Write your answer inside the
table provided.

Tuwaang Attends a Wedding

(The Second Song of the Manuvu Ethnoepic Tuwaang cycle)
By: E. Arsenio Manuel

Tuwaang, after finishing some work, calls his aunt aside and informs her that the wind
has brought him a message: he is to attend the wedding of the Maiden of Momawon. The
aunt tries to dissuade him from going, for she foresees trouble. Tuwaang, however, is
determined to go. He picks the heart-shaped costume made by goddesses, arms himself with
a long blade and dagger, and takes his shield and spear. He rides on a flash of lightning and
arrives at the "kawkawangan" grassland. While resting there a while, he hears a "gungutan"
bird crowing. He decides to catch the fowl, but soon sees the "gungutan" with a daggerlike
spur. The "gungutan" tells Tuwaang he came to know of his coming in a dream and that he
wants to go with him to the wedding celebration. Tuwaang agrees to bring the "gungutan"
along. The two shake their shoulders and are carried into space.
Upon arriving at Momawon, Tuwaang is admitted into the hall. He sits on a golden
stool, while the "gungutan" perches on a crossbeam. Meantime, enchanting sounds from afar
and flowering trees signal the arrival of the Young Man of Panayangan. Other gallants – the
Young Man of Liwanon and the Young Man of the Rising Sun – arrive. Finally, the groom, the
Young Man of Sakadna, arrives with a hundred followers. He haughtily asks the houseowner
to clear the house "of dirt," implying the people in the house who do not count. To this insult
Tuwaang answers there are "red leaves," i.e. heroes, in the house.
Preliminaries of the wedding ceremony start. The "savakan" (bride-wealth consisting
of articles and wrapped food to be paid for by the groom's kinsmen) are offered one by one,
until only the two most costly remain. One is given the value of an ancient gong with ten
bosses and nine relief-rings; the other is redeemable only by a golden guitar and a golden
flute. The groom confesses his inability to redeem these articles. Tuwaang saves the groom
from the embarrassing predicament by taking his place: through his magic breath he
produces a more ancient gong, which is accepted by the bride's party. He also produces the
golden flute and golden guitar.
The bride is now asked to come out of her room and serve the guests some betel chew.
She commands her betel box to serve everyone. Magically the betel box obeys, with the betel
chew jumping into the mouths of the guests. After two betel chews leap into the groom's
mouth, the betel box moves on to Tuwaang, before whom it stops altogether. Tuwaang
brushes it away, but the box does not budge. The bride decides to sit beside Tuwaang.
The groom blushes; he is shamed. He decides to fight Tuwaang. He goes down the
house and challenges Tuwaang to come down to the yard.
After the bride unrolls and combs Tuwaang's hair, Tuwaang goes down to fight. The
"gungutan", meanwhile, has been fighting the groom's men and has slain a number of them
until only six gallants remain. Tuwaang and the gungutan engage the six gallants.
 Finally only Tuwaang and the Young Man of Sakadna are left moving about. Tuwaang
is thrown against a boulder, which turns into dust. Trees get bent and topple. Tuwaang gets
hold of his foe, throws him down so hard that he sinks into the earth. The Young Man of
Sakadna surfaces quickly and confronts Tuwaang once more. Tuwaang in turn is thrust into
the earth and sinks into the Underworld. There he talks to Tuhawa', god of the Underworld,
who tells him the secret to overcoming his foe. Tuwaang surfaces and summons the golden
flute in which the Young Man of Sakadna keeps his life. Tuwaang asks his foe to become his
vassal in exchange for his life. The groom prefers death. Tuwaang therefore destroys the
golden flute, ending his protagonist's life. Accompanied by the "gungutan", Tuwaang takes
his bride home to Kuaman, where he rules forever.