21st LESSON 3.pptx

Philippine Literature
under the American
Colonial
Period and the Japanese
Colonial Period

• Identify the literary forms that emerged during
these periods
• Understand the events that occurred during these
periods that are evident in the literary texts
discussed
• Create a class presentation similar to the sarswela
Learning Objectives

I. Literature under the US Colonial Period:
An Overview

Treaty of Paris—On April 11,
1899, an agreement was signed
by John Hay, the US Secretary of
State, after the Spanish–American
War. In this agreement, Spain
surrendered the remaining
Spanish empire, Cuba, Puerto
Rico, Guam, and the Philippines to
the United States, which also
involved a payment of 20 million
dollars to Spain.

 The Spanish language is still dominant among Filipinos.
 Education was first headed by American soldiers. In 1901,
around 600 teachers who arrived
 Onboard the ship USS Thomas replaced the soldiers.
 Ironically, a great portion of Spanish literature written by
Filipinos emerged during the American Commonwealth
period.
 Newspapers like El Tiempo, El Pueblo de Iloilo, La
Vanguardia, La Democracia, and El Renacimiento were
published in Spanish.

 Other newspapers and magazines helped with
the boost of the English language in the
Philippines. Some of these were The Manila
Times, Manila Daily Bulletin, Cable News, The
Independent, Philippines Free Press, Philippine
Review, The Philippine Herald, The Manila
Tribune, and the Graphic, among others.
 Tagalog drama also transformed from merely a
form of entertainment to an expression of revolt
against the Americans.

Famous Playwrights
 Juan Abad (Tanikalang Guinto)
 Juan Matapang Cruz (Hindi Aco Patay)
 Aurelio Tolentino (Kahapon, Ngayon, at Bukas)
 Severino Reyes (Walang Sugat)
 Julian Cruz Balmaceda (Sa Bunganga ng Pating)
 Precioso Palma (Paglipas ng Dilim).

 Sarswela, a musical famous during the 1920s up to the
1930s, later became written ni English by Filipino
playwrights Wilfrido Ma. Guerrero (Three Rats) and
Alberto Florentino (The World is an Apple).
 Famous Spanish-language writers or poets during this
period were Claro M. Recto (Bajo los Cocoteros),
Antonio M. Abad (El Ultimo Romantico), and Jesus
Balmori (Mi Casa de Nipa) among many others.
 School publications also emerged during this period
such as The Filipino Students’ Magazine,UP College
Folio, The Coconut of the Manila High School,
and The Torch of the Philippine Normal School.

 Famous short stories in English emerged like “Dead
Stars” (Paz Marquez-Benitez),“Footnote to Youth”
(José Garcia Villa), and “How My Brother Leon
Brought Home a Wife”(Manuel Arguilla).
 Comics started appearing on magazines as a
series like Si Kiko at Angge in Telembang. Others
were satirical editorial cartoons like in Lipang
Kalabaw, a Tagalog magazine owned by Lope K.
Santos. Album ng mga Kabalbalan ni Kenkoy also
appeared in the entertainment section of the
magazine Liwayway.

II. Famous Filipino Writers Who
Wrote in Tagalog and their Works

A. Juan Abad
• He was born in Sampaloc, Manila on February 8,
1872.
• He wrote his first play, Senos de Mala Fortuna, at
the age of 16.
• He founded three newspapers as a sign of revolt
against the Americans: Republicang Tagalog,
which he founded with Emilio S. Reyes; Laon-
Laan, which caused his imprisonment for a
month; and Dimas-Alang, which is dedicated to
Filipino workers.
• He was imprisoned for 2 years and fined $2000
for his play Tanikalang Guinto. It was a symbolic
play encouraging Filipinos to rebel against the
Americans.

Tanikalang Guinto
Characters:
K’Ulayaw—symbolizes revolution
Liwanag—symbolizes love for one’s country
Maimbot—symbolizes the Americans
Dalita—Inang Bayan
Nagtapon—symbolizes Filipino traitors
The play is about lovers K’Ulayaw and Liwanag who are planning to
get married.
However, Maimbot does not agree with this union. So Maimbot,
along with Nagtapon,
decided to convince Liwanag to cancel the wedding and gave her a
chain of gold
(tanikalang guinto). In the end, K’Ulayaw was killed in the hands of
Nagtapon. Liwanag attempted to kill herself, too, but she was saved
by Diwa.

Tanikalang Ginto
Ni: Juan K. Abad
Buod:
Si Liwanag ay nalilito sa kung ano ang gagawin: pakasalan ang nag-iisang
mahal na si K’ulayaw o ang pagtanaw ng utang na loob sa kanyang amain na si
Maimbot. Hindi nais ni Maimbot na magpakasal si Liwanag kay K’ulayaw nais
niyang makasama at pagsilbihan siya ni Liwanag hanggang siya ay
sumakabilang buhay. Inatasan niya si Nagtapon, ang kanyang alipin na
bantayan at pagbawalan ang pagkikita ng dalawa. Ginawa ni Maimbot ang lahat
ng kanyang makakaya upang hadlangan ang pag-iibigan ng dalawa. Binigyan
niya si Liwanag ng Tanikalang ginto at pinangakuan ng marami pang
kasaganahan sa buhay upang makuha ang hiling niyang ampunin si Liwanag.
Ang tanikalang ginto ang nagsilbing isang kontrata na pinanghahawakan ni
Maimbot kay Liwanag. Subalit nanaig ang kagustuhan ni Liwanang na sumama
at magpakasal kay K’ulayaw. Dahil dito nauwi sa marahas na paraan ang
pagpupumilit ni Maimbot. Sa huli’y si Nagtapon din ang nakapatay sa sariling
kapatid

B. Aurelio Tolentino
 He was born in Guagua, Pampanga on
October 13, 1867.
 He obtained a bachelor of arts degree at
Colegio de San Juan de Letran and took
up law at the University of Santo Tomas.
He stopped schooling when his father
died.
 He helped in the printing and distribution
of the newspaper La Solidaridad.
 He became acquainted with Andres
Bonifacio, and was imprisoned for 9
months during the 1896 revolution.

 He also affixed his signature as among the
witnesses who signed the Declaration of
 Philippine Independence in Kawit, Cavite on
June 12, 1898.
 He became known as the Father of Tagalog
Drama for his play Kahapon, Ngayon, at
Bukas.
 He also founded El Parnaso Filipino, a
school that promotes Tagalog literature.

Below is an excerpt from Aurelio Tolentino’s Dakilang Asal
(screencast)
VII. Sa Mga Piging
Kung mapithaya ka sa alin mang piging,
Huag kang mapauna sa ibang panauhin;
Ngunit huag ka namang mahuling dumating:
Isipin mong ikaw ay doon hihintin.
Sa mesang pagkain kung tumatawag nga,
Hayaang mauna ang mga dakila;
At gayon din naman huag kang magkusang
Maunang tumikim sa alin mang handa.
Huag kang magmadali’t ang subo’y huag lakhan
Ang ulam ay huag mong amuyin o hipan;
Ang mga kubiertos ay paka-ingatan,
Upang huag kumatog na lubha sa pingan.

Huag mong titigan ang alin mang hain,
At gayon din naman kasalong panauhin
Paka-ingatan mo’t huag sasambitin
Ang bagay na baka nakaririmarim.
Ang iyong mga siko ay huag mong isampa
Magpakailan pa man sa kakanang mesa,
Kahit anong ulam ay huag humingi ka,
Huag naming pintasan ang kahit alin pa.

This excerpt of Dakilang Asal is about how we should behave if
we are invited to a party
or a small gathering. The first stanza tells us to always come on
time. The second stanza
tells us to give way to guest of honors. The third stanza tells us
not to play with our food
and to take care of the utensils.
The fourth stanza tells us not to stare at food and not talk about
topics that seem inappropriate. In the fifth stanza, our elbows
should not rest on the table. It is also telling us not to provide
negative comments toward the food.

C. Severino Reyes
 He was born in Sta. Cruz, Manila on February
11, 1861. • He is known as the Father of
Sarswela.
 He had his secondary education at the Colegio
de San Juan de Letran and continued his
studies at the University of Santo Tomas.
 In 1902, Reyes wrote his first play entitled
R.I.P. at the age of 41.
 Walang Sugat was also written in 1902, which
was turned into movies in 1939 and 1957.
 Aside from the sarswela, Severino Reyes is
also known for his collection of short stories
Mga Kuwento Ni Lola

Ang Binibining Tumalo sa Mahal na
Hari (Kuwento ni Lola Basyang)

III. Famous Filipino
Writers Who Wrote in
English and their
Works

A. Wilfrido Ma. Guerrero
 He was born in Ermita, Manila on January 22, 1911.
 At the age of 14, he wrote his first play entitled No Todo
es Risa.
 He studied at the University of the Philippines and
Columbia University.
 He also worked as a proofreader and reporter for the
newspaper La Vanguardia and worked as a drama critic
for The Manila Tribune.
 He directed over 120 plays and became a director of the
UP Dramatic Club and an assistant professor despite
lacking a degree.
 Some of his plays were performed abroad like Half an
Hour in a Convent, Three Rats, Condemned, One, Two,
Three, and Wanted: A Chaperon.
 He was declared National Artist for Theater 2 years after
his death in 1995.

Three Rats
(SCREENCAST)
GONZALO: It seems Tito Viterbo’s best friend was having an affair with Tito’s wife.
NITA: I can’t believe it of Mila.
ADRIAN: Mr. Viterbo killed his friend? GONZALO: No, he killed his wife.
NITA: Poor Mila.
ADRIAN: Unfortunate husband.
GONZALO: (laughing) Unfortunate, my eye! Stupid rather!
ADRIAN: But why?
NITA: Gonzalo, how can you be so callous? After all, he had the right to kill her.
GONZALO: Because she was unfaithful to him? Decades ago, that might have been
justified, but in an enlightened age like ours, killing a faithless wife or her lover
speaks none too highly of the husband’s sense of proportion.
ADRIAN: (shocked) What an idea, Gonzalo!
GONZALO: To kill the wife because she is unfaithful is for the husband to admit that he
has lost her… and if you lose something or somebody, don’t you think that it’s most
probably through your own carelessness? The sense of possession is strong in
every love.

ADRIAN: Granted, in another generation… when material things were few and expensive,
one could understand the fierce desire to possess and hold on to something.
NITA: Gonzalo, you can’t confuse love with the material.
GONZALO: I am not confusing them. True love isn’t a material thing. It’s intangible, spiritual…
capable of touching the stars, reaching the infinite…embracing God!
NITA: Poetry, Gonzalo.
ADRIAN: No, Nita. Truth.
GONZALO: (Smiling) But not all marriages are born of love.
ADRIAN: Of what then?
GONZALO: Of passion. And if it is passion in your marriage, to lose the object of your
passion, need not… should not… necessarily be tragic.
ADRIAN: What would you have had Mr. Viterbo do, then?
GONZALO: Forgive his wife…
ADRIAN: But Mr. Viterbo’s wife was guilty of breakin…
GONZALO: The fourth commandment.
NITA: The sixth, Gonzalo.
GONZALO: (laughing) Right. “Thou shalt not commit adultery.” Ah, but I know the ninth:
“Thou shalt not covet thy neighbor’s wife.”
NITA: Splendid. Your memory is improving.
(END SCREENCAST)

This play is about Gonzalo, his wife Nita, and his best
friend Adrian. Gonzalo found out that his wife and his
best friend are cheating on him, which is the same
case as in the excerpt above where Mr. Viterbo’s wife
cheated on him with his best friend. Gonzalo is not in
favor of Mr. Viterbo killing his wife. In fact, Gonzalo
believed that Mr. Viterbo should forgive her

B. Paz Marquez-Benitez
 She was born in Lucena, Quezon on March 3, 1894.
 She wrote “Dead Stars,” which was published in The
Philippine Herald in 1925. It was considered the first
Filipino modern English-language short story.
 She graduated from the University of the Philippines with
a bachelor of arts degree in 1912 and became a teacher
in short story writing at UP.
 She married Francisco Benitez, a fellow teacher, and in
1919 founded Women’s Home Journal, the first
anthology of Philippine short stories in English.
 A compilation of works from her students was released in
1928, called Filipino Love Stories, with whom she is the
editor.
 She became the editor of the Philippine Journal of
Education at UP for two decades.

(screencast) Excerpt from “Dead
Stars”
Toward the end of the row of Chinese stores, he caught up with Julia Salas. The crowd
had dispersed into the side streets, leaving Calle Real to those who lived farther out.
It was past eight, and Esperanza would be expecting him in a little while: yet the thought
did not hurry him as he said,
“Good evening” and fell into step with the girl.
“I had been thinking all this time that you had gone,” he said in a voice that was both
excited and troubled.
“No, my sister asked me to stay until they are ready to go.”
“Oh, is the Judge going?”
“Yes.” The provincial docket had been cleared and Judge del Valle had been assigned
elsewhere.
As lawyer—and as lover—Alfredo had found that out long before.
“Mr. Salazar,” she broke into his silence,
“I wish to congratulate you.” Her tone told him that she had learned, at last. That was
inevitable.
“For what?”
“For your approaching wedding.” Some explanation was due her, surely. Yet what could
he say that would not offend?

“I should have offered congratulations long before, but you know mere visitors are slow about
getting the news,” she continued.
He listened not so much to what she said as to the nuances in her voice.
He heard nothing to enlighten him, except that she had reverted to the formal tones of early
acquaintance.
No revelation there; simply the old voice—cool, almost detached from personality, flexible and
vibrant, suggesting potentialities of song.
“Are weddings interesting to you?” he finally brought out quietly.
“When they are of friends, yes.”
“Would you come if I asked you?”
“When is it going to be?”
“Yes.” The provincial docket had been cleared and Judge del Valle had been assigned elsewhere.
As lawyer—and as lover—Alfredo had found that out long before.
“Mr. Salazar,” she broke into his silence,
“I wish to congratulate you.” Her tone told him that she had learned, at last. That was inevitable.
“For what?”
“For your approaching wedding.” Some explanation was due her, surely. Yet what could he say
that would not offend?
“I should have offered congratulations long before, but you know mere visitors are slow about
getting the news,” she continued.

He listened not so much to what she said as to the nuances in her voice. He heard nothing to
enlighten him, except that she had reverted to the formal tones of early acquaintance.
No revelation there; simply the old voice—cool, almost detached from personality, flexible and
vibrant, suggesting potentialities of song.
“Are weddings interesting to you?” he finally brought out quietly.
“When they are of friends, yes.”
“Would you come if I asked you?”
“When is it going to be?”
“May,” he replied briefly, after a long pause.
“May is the month of happiness they say,” she said, with what seemed to him a shade of irony.
“They say,” slowly, indifferently.
“Would you come?”
“Why not?”
“No reason. I am just asking. Then you will?”
“If you will ask me,” she said with disdain.
“Then I ask you.”
“Then I will be there.”
The gravel road lay before them; at the road’s end the lighted windows of the house on the hill.
There swept over the spirit of Alfredo Salazar a longing so keen that it was pain, a wish that, that
house were his, that all the bewilderments of the present were not, and that this woman by his
side were his long-wedded wife, returning with him to the peace of home.

“Julita,” he said in his slow, thoughtful manner,
“did you ever have to choose between something you wanted to do and something you had to
do?” “No!”
“I thought maybe you had had that experience; then you could understand a man who was in
such a situation.”
“You are fortunate,” he pursued when she did not answer.
“Is—is this man sure of what he should do?”
“I don’t know, Julita. Perhaps not. But there is a point where a thing escapes us and rushes
downward of its own weight, dragging us along. Then it is foolish to ask whether one will or
will not, because it no longer depends on him.”
“But then why—why—” her muffled voice came. “Oh, what do I know? That is his problem
after all.” “Doesn’t it—interest you?” “Why must it? I—I have to say good-bye, Mr. Salazar; we
are at the house.” Without lifting her eyes, she quickly turned and walked away. Had the final
word been said? He wondered. It had.
Yet a feeble flutter of hope trembled in his mind though set against that hope were three years
of engagement, a very near wedding, perfect understanding between the parents, his own
conscience, and Esperanza herself—Esperanza waiting, Esperanza no longer young,
Esperanza the efficient, the literal-minded, the intensely acquisitive.
(end screencast)

“Dead Stars” is about Alfredo’s dilemma
toward his feelings with Julia Salas while he’s
engaged to Esperanza. In this excerpt, Julia is
congratulating him for his upcoming wedding.
At the same time, we can sense his
hesitation, most especially when Julia came
along.

C. Manuel Arguilla
 He was born in Bauang, La Union on
June 17, 1911.
 He finished an education degree in
1933 at the University of the
Philippines and became a member
and president of the UP Writers Club
and editor of The Literary Apprentice.
 His short story “How My Brother Leon
Brought Home a Wife” won first prize
in the Commonwealth Literary
Contest in 1940.

(screencast) Excerpt from “How My Brother Leon Brought Home a Wife”
She stepped down from the carretela of Ca Celin with a quick, delicate grace. She was lovely.
She was tall. She looked up to my brother with a smile, and her forehead was on a level with his
mouth.
“You are Baldo,” she said and placed her hand lightly on my shoulder.
Her nails were long, but they were not painted. She was fragrant like a morning when papayas
are in bloom. And a small dimple appeared momently high on her right cheek.
“And this is Labang of whom I have heard so much.” She held the wrist of one hand with the
other and looked at Labang, and Labang never stopped chewing his cud. He swallowed and
brought up to his mouth more cud and the sound of his insides was like a drum. I laid a hand on
Labang’s massive neck and said to her:
“You may scratch his forehead now.”
She hesitated and I saw that her eyes were on the long, curving horns. But she came and
touched Labang’s forehead with her long fingers, and Labang never stopped chewing his cud
except that his big eyes half closed. And by and by she was scratching his forehead very daintily.
My brother Leon put down the two trunks on the grassy side of the road. He paid Ca Celin twice
the usual fare from the station to the edge of Nagrebcan. Then he was standing beside us, and
she turned to him eagerly. I watched Ca Celin, where he stood in front of his horse, and he ran
his fingers through its forelock and could not keep his eyes away from her.

“Maria—” my brother Leon said. He did not say Maring. He did not say Mayang.
I knew then that he had always called her Maria and that to us all she would be Maria; and in
my mind I said ‘Maria’ and it was a beautiful name.
“Yes, Noel.” Now where did she get that name? I pondered the matter quietly to myself,
thinking Father might not like it. But it was only the name of my brother Leon said backward
and it sounded much better that way.
“There is Nagrebcan, Maria,” my brother Leon said, gesturing widely toward the west. She
moved close to him and slipped her arm through his. And after a while she said quietly.
“You love Nagrebcan, don’t you, Noel?”
Ca Celin drove away hi-yi-ing to his horse loudly. At the bend of the camino real where the
big duhat tree grew, he rattled the handle of his braided rattan whip against the spokes of the
wheel. We stood alone on the roadside.
The sun was in our eyes, for it was dipping into the bright sea. The sky was wide and deep
and very blue above us: but along the saw-tooth rim of the Katayaghan hills to the southwest
flamed huge masses of clouds. Before us the fields swam in a golden haze through which
floated big purple and red and yellow bubbles when I looked at the sinking sun.
Labang’s white coat, which I had washed and brushed that morning with coconut husk,
glistened like beaten cotton under the lamplight and his horns appeared tipped with fire.

He faced the sun and from his mouth came a call so loud and vibrant that the earth
seemed to tremble underfoot. And far away in the middle of the field a cow lowed
softly in answer.
(end screencast)

The story is told from the point of view of
Leon’s brother, Baldo when he came back to
their hometown in La Union with his wife
Maria. Throughout the story, we can tell that
Leon’s family is not in favor of his marriage to
Maria, even if Maria seems to be a good
woman.

IV. Philippine Literature
under the Japanese
Colonial Period

 During World War II, the Philippines was colonized by the
Japanese from 1941 to 1945. It all began when Japan
bombed Pearl Harbor in Hawaii on December 8, 1941.
 With the rising tension between Japan and the United
States, President Manuel L. Quezon and Douglas MacArthur
fled to the United States. But before leaving, MacArthur left
a promise to the Filipino people, “I shall return,” which is
popular up to this day.
 Meanwhile, the Japanese ordered that the Misa de gallo
(Simbang gabi) be suspended for the first time on Christmas
of 1941.
 Under the Japanese rule came the Fall of Bataan and the
Death March, which killed thousands of Filipinos and
Americans.

 HUKBALAHAP or Hukbong Bayan Laban sa Hapon was a group of
Filipinos who fought against the Japanese. However, there were also
Filipino spies known as the Makapili. These people were known to
cover their heads with bayong to conceal their faces.

 The Mickey Mouse money
became the national
currency. It is practically
invaluable, like play money.
 As promised, Douglas
MacArthur came back in
Leyte in 1944 and fought for
our country once more.
 Victory over Japan Day (V-J
Day, 1945) was declared
after Japan surrendered to
the United States on August
15, 1945.

 Lastly, there came the Inauguration of the First Philippine
Republic on July 4, 1946.
 Without Seeing the Dawn, a novel written by Stevan
Javellana, was published in the United States in 1947. It
depicts the experiences of Filipinos during the war
between the Americans and the Japanese. This novel
was later on adapted into a movie entitled Santiago!,
directed by Lino Brocka, which stars Fernando Poe Jr.
and Hilda Coronel.
 Among the most gruesome stories during the war was
about comfort women, and among them was María Rosa
Henson or Nana Rosa as she was fondly known. She
wrote an autobiography Comfort Woman: Slave of
Destiny, which was published in 1996.
 Among the most gruesome stories during the war was
about comfort women, and among them was María Rosa
Henson or Nana Rosa as she was fondly known. She
wrote an autobiography Comfort Woman: Slave of
Destiny, which was published in 1996.

 Bienvenido Santos (Scent
of Apples),
Some famous Filipino
writers who lived during
this period

 Marcelo Agana, Jr. (New
Yorker in Tondo),

 Nick Joaquin
(“The Summer Solstice”)

(screencast)
Excerpt from “The Summer Solstice” by Nick Joaquin
This was the time when our young men were all going to Europe and bringing
back with them, not the Age of Victoria, but the Age of Byron. The young
Guido knew nothing of Darwin and evolution; he knew everything about
Napoleon and the Revolution. When Doña Lupeng expressed surprise at his
presence that morning in the St. John’s crowd, he laughed in her face.
“But I adore these old fiestas of ours! They are so romantic! Last night, do you
know, we walked all the way through the woods, I and some boys, to see the
procession of the Tadtarin.”
“And was that romantic too?” asked Doña Lupeng. “It was weird. It made my
flesh crawl. All those women in such a mystic frenzy! And she who was the
Tadtarin last night—she was a figure right out of a flamenco!”

“I fear to disenchant you, Guido—but that woman happens to be our cook.”
“She is beautiful.”
“Our Amada beautiful? But she is old and fat!”
“She is beautiful—as that old tree you are leaning on is beautiful,” calmly
insisted the young man, mocking her with his eyes.
They were out in the buzzing orchard, among the ripe mangoes; Doña Lupeng
seated on the grass, her legs tucked beneath her, and the young man
sprawled flat on his belly, gazing up at her, his face moist with sweat. The
children were chasing dragonflies. The sun stood still in the west. The long
day refused to end. From the house came the sudden roaring laughter of the
men playing cards.
“Beautiful! Romantic! Adorable! Are those the only words you learned in
Europe?” cried Doña Lupeng, feeling very annoyed with this young man
whose eyes adored her one moment and mocked her the next.
“Ah, I also learned to open my eyes over there—to see the holiness and the
mystery of what is vulgar.”

“And what is so holy and mysterious about—about the Tadtarin, for
instance?”
“I do not know. I can only feel it. And it frightens me. Those rituals come to
us from the earliest dawn of the world. And the dominant figure is not the
male but the female.” “But they are in honor of St. John.” “What has your St.
John to do with them? Those women worship a more ancient lord. Why, do
you know that no man may join those rites unless he first puts on some
article of women’s apparel and—
“And what did you put on, Guido?”
“How sharp you are! Oh, I made such love to a toothless old hag there that
she pulled off her stocking for me. And I pulled it on, over my arm, like a
glove. How your husband would have despised me!”
“But what on earth does it mean?” “I think it is to remind us men that once
upon a time you women were supreme, and we men were the slaves.”
“But surely there have always been kings?” “Oh, no. The queen came before
the king, and the priestess before the priest, and the moon before the sun.”

“The moon?” “—who is the Lord of the women.” “Why?” “Because the tides of
women, like the tides of the sea, are tides of the moon. Because the first
blood—But what is the matter, Lupe? Oh, have I offended you?” “Is this how
they talk to decent women in Europe?” “They do not talk to women, they pray
to them—as men did in the dawn of the world.”
“Oh, you are mad! mad!”
“Why are you so afraid, Lupe?”
“I afraid? And of whom? My dear boy, you still have your mother’s milk in your
mouth. I only wish you to remember that I am a married woman.”
“I remember that you are a woman, yes. A beautiful woman. And why not? Did
you turn into some dreadful monster when you married? Did you stop being a
woman? Did you stop being beautiful? Then why should my eyes not tell you
what you are—just because you are married?”
“Ah, this is too much now!” cried Doña Lupeng, and she rose to her feet. “Do
not go, I implore you! Have pity on me!”

“No more of your comedy, Guido! And besides—where have those children
gone to! I must go after them.” As she lifted her skirts to walk away, the young
man, propping up his elbows, dragged himself forward on the ground and
solemnly kissed the tips of her shoes. She stared down in sudden horror,
transfixed—and he felt her violent shudder. She backed away slowly, still
staring; then turned and fled toward the house.
On the way home that evening Don Paeng noticed that his wife was in a
mood. They were alone in the carriage: the children were staying overnight at
their grandfather’s. The heat had not subsided. It was heat without
gradations: that knew no twilights and no dawns; that was still there, after the
sun had set; that would be there already, before the sun had risen.
“Has young Guido been annoying you?” asked Don Paeng.
(end screencast)

One of the story’s themes is
the contrast between Christian
beliefs and pagan rituals.

Learning Task
A. Arrange the students into three groups. Prepare three playscripts by a
well-known playwright. Wilfrido Ma. Guerero Three Rats will be read by
the first group. Summer Solstice is the second group, followed by
Tanikalang Guinto. Make sure each group delivers the lines to the best
of their ability.
B. After reading, allow the class to discuss the struggles that the characters
have with their relationship with each other.
Guide Questions:
1. Do you agree with Gonzalo’s point of view when it comes to revenge?
2. What social problems or topics is the drama addressing in Summer
Solstice?
3. What is the main setting of Tanikalang Guinto?
C. Let the representative of the group present their answers in front of the
class.

Questions:
1. What was the agreement signed by John Hay after the
Spanish–American War?
2. According to Nick Joaquin’s “The Summer Solstice,”
what is the Tadtarin?
3. What was the most gruesome struggle that occurred
during the Japanese colonial period that concerns
women? Who wrote an autobiography which describes
what she experienced along with other girls her age

Answers:
1. Treaty of Paris—On April 11, 1899, an agreement was signed by John
Hay, the US Secretary of State, after the Spanish–American War. In this
agreement, Spain surrendered the remaining Spanish empire, Cuba,
Puerto Rico, Guam, and the Philippines to the United States, which also
involved a payment of 20 million dollars to Spain.
2. Tadtarin is a ritual held during the feast of St. John the Baptist. It is a
pagan ritual where the females are more dominant than men.
3. María Rosa Henson or Nana Rosa wrote an autobiography that describes
her terrible experience as a comfort woman during the Japanese period.
Questions:

21st LESSON 3.pptx

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