FINAL PPT PHIL LIT.pptx48272022i1902387e19.

PHILIPPINE LITERARY
HISTORY FROM PRE-
COLONIALTO
CONTEMPORARY
A MAJOR, MAJOR THROWBACK

Philippine literature is a diverse
rich group of works that has
evolved side-by-side with the
country’s history.

The evolution of Philippine
literature depended on the
influences of colonization and
the spirit of the age.

The first Filipino alphabet
is called Alibata.

THE PANTHEON OF
VISAYAN DIETIES

Unlike the Tagalogs, ancient Visayans
didn’t have a creator god like Bathala who
appeared out of nowhere and decided to
create humanity. But what they lacked in
“creator god” they made up for in plenty
of origin myths.

They worshiped and offered
prayers to a variety of invisible
beings. These could either be
a diwata (i.e. gods and
goddesses) or the spirits of their
ancestors called umalagad.

Our Visayan ancestors also believed in the
afterlife, although theirs had no heaven or
hell as we understand them today. The 17th
century Augustinian priest Father Méntrida
said that because these ancient Visayans
had no knowledge of hell, “they call the
Inferno, Solar (Sulad), and those who dwell
in the Inferno, solanun.”

The Sulod of Central Panay in
Western Visayas believed that the
universe was divided into three
regions: Ibabawnun
(upperworld),
Pagtung-an (middleworld),
and Idadalmunun (underworld).

Ibabawnun was further divided into two–
a place ruled and inhabited by the
male diwata, and the other by the
female diwata.

For the male section, a deity
named Tungkung Langit (literally means
“pillar of the skies”) was considered the
supreme god or the highest-ranking
deity. Alunsina, meanwhile, was the
most powerful female diwata and the
goddess of the eastern skies.

Both Pagtung-an (middle
world) and
the Idadalmunun (underworl
d) were also ruled by deities.
The underworld was under
the jurisdiction of its highest
ranking deity, Panlinugon,
who also happened to be the
god of earthquake.

The
couple Paiburong
and Bulawanon
led other deities
in keeping the
middleworld in
perfect order.

• An origin myth from Panay suggests that Tungkung Langit and Alunsina, the chief
gods of the upperworld, were actually married and settled down in heaven. The story,
which was part of the old myths and legends compiled by anthropologist F. Landa
Jocano in 1971, traced the origin of the world and celestial bodies.
• After marrying Alunsina, Tungkung Langit worked non-stop to put an order in the
confusing and still-shapeless world. He was described as a “loving, hard-working
god,” while his wife a “lazy, jealous, and selfish goddess.”

One day, as Tungkung Langit left their home in the skyworld
to perform his duties, Alunsina ordered the breeze to follow
and spy on her husband. When Tungkung Langit found out
about it, a long argument ensued. The fight became so
serious and hurtful that Alunsina decided to leave her
husband, never to be seen again.

• Several lonely months later, Tungkung Langit tried to find his wife everywhere, but to no avail. In
desperation, he took Alunsina‘s jewels and spread them in the sky, hoping that somehow she would notice
them and be compelled to return.
• Sadly, Alunsina never bothered to come back. It is believed among the old folks of Panay that Alunsina‘s
necklace became the stars, while her comb and crown became what we know today as the moon and
sun, respectively.
• They also think that the rain is actually the tears of Tungkung Langit falling from the sky. The thunders, on
the other hand, could be the supreme god desperately calling for his beloved wife.

•Other parts of the ancient Visayas believed the
world was divided into three
regions: Kahilwayan or the skyworld; Kamariitan or
the earth; and Kasakitan or the underworld.

•Kaptan was the supreme god of these early
Visayans. He lived in Kahilwayan and always
passed through the Madyaas mountain in
Panay every time he came down to earth.

•Kaptan married a goddess
named Magwayen and together
they ruled the skyworld.

• According to an ancient origin myth recorded by Miguel de Loarca
from the coastal people of Panay (possibly in Oton,
Iloilo), Kaptan married a goddess named Magwayen and together
they ruled the skyworld.

• And just like what happened to Tungkung Langit and Alunsina, the two had an argument, ending up
with Magwayen leaving her husband. To cope with his sorrow, Kaptan went to his garden
called kabilyawan and there he planted a bamboo tube. As the plant grew by leaps and
bounds, Kaptan thought of creating a man and a woman who could take care of the bamboo.
• Before long, the bamboo split in half and from it came out the first man which Kaptan named Si
Kalak (“the sturdy one”), and the first woman whom she christened Si Kabay. The two became the
ancestors of humanity.

• In other ancient stories, Magwayen was considered the goddess of the sea and death. Gregorio
Zaide’s Philippine History and Civilization mentioned Maguayen as the “Visayan Acheron who ferried the
souls of the dead from the land of the living to the other world.”
• The ancient people of Panay knew Magwayen as the boatman who delivered the soul to the afterlife. Upon
its arrival, the soul could either be accepted or rejected depending on whether he was decorated with
sufficient gold jewelry. Those rejected would remain in Sulad or the ancient counterpart of Inferno unless
his relatives offered enough sacrifices to save him.

• Another version of the Visayan origin myth
suggests that Kaptan and Magwayen were not a
couple. Instead, they were both guys,
with Kaptan ruling over the skyworld
and Magwayen lording over the water.

•, Kaptan is said to
be the father
of Lihangin, the
god of the wind,
while Magwayen
sired the
goddess of the
sea, Lidagat.

• With the permission of their fathers, Lidagat and Lihangin got married and raised
four kids: the strong Licalibutan who had a body made of rock; the always-
happy Liadlaw (god of sun) who was covered with gold; the shy and
weak Libulan (god of moon) who was made of copper; and the only
daughter, Lisuga (god of stars), whose silver body always sparkled.

• For a time, the family seemed to be happy and had no
issues at all. However, everything changed
when Lihangin and Lidagat died. Their eldest
son, Licalibutan, became the victim of his own greed.

• One day, he planned a surprise attack against the skyworld to hopefully seize its
control from the supreme god Kaptan, his grandfather. Joining him
were Liadlaw and Libulan who were too afraid of him to even think of backing
out. Together, they went to the skyworld and blew up the gates protecting the
kingdom.

• When Kaptan learned about the attack, he was enraged. The skygod sent
three lightning bolts to his grandsons, which all melted instantly.
Both Liadlaw and Libulan were reduced into a ball, while Licalibutan‘s rock-hard
body broke into pieces, fell into the sea, and became what is known as land.

• When he and Magwayen finally met,
things started to sink in for Kaptan. He
lost all his grandchildren, including
the beautiful Lisuga who had nothing
to do with the conspiracy at all.
• The grief-stricken Kaptan, upon
realizing he could no longer revive the
four deities, decided to just provide
their remains with an everlasting
light. Hence, Liadlaw became the
sun, Libulan became the moon,
and Lisuga became what we know
today as the stars.

• As for the evil Licalibutan, Kaptan didn’t bother to give him light. He thought it
was just fair to let him remain as it is–the land that would support the human
race. Soon, Magwayen planted a seed on the said land and it didn’t take long
before a bamboo tree started growing.

• Lisuga, unaware of what was happening, also went to the
skyworld to visit his grandfather. Kaptan, too blinded by his
anger, struck the innocent Lisuga with lightning as well,
breaking her into thousand pieces.

LIDAGAT
The ancient Visayans thought of Lidagat as the only daughter of
Magwayen, the ruler of the seas, and when she was born, her
mother gave her the powers over the watery domain. She is
often pictured as a beautiful woman of the seas, some pictured
her as having a body made of water, waves for hair and fish and
merfolk for company, while others thought of her sharing the
same appearance as the merfolk or a mermaid. She is widely
venerated in ancient times as the goddess of sealife and
therefore, the goddess of fishermen as well. It is said that when
fishermen pray to her, and they received a bountiful catch, they
used to toss a large piece of fresh meat to the sea to give thanks
for blessing them with abundance.

LIHANGIN
Lihangin was a devoted husband to Lidagat and the
father of their 4 children, he is described as a noble man
riding the clouds or being carried by the wind, he was
also worshipped as a weather deity by the ancient
Visayans, they pray to him for good weather during
planting season and good warm winds during the dry
season when the crops are harvested and pottery
making were in demand, and he was also venerated
together with his wife Lidagat, as a couple by ancient
sailors and people who travel via the sea in their large
balangays, seeking for favorable wind which will take
them to a much fertile land to set foot on .

LICALIBUTAN
He was described as a god who has a large
body made of rock and has a very aggressive
attitude. His brothers Liadlaw and Libulan
always looked up to him and they were ready to
follow his every command. He was also
Lihangin’s favorite son and was spoiled very
much by him. When Lihangin died, Licalibutan
was beside him, and he blessed the rock deity
with his powers to control the winds of the earth.

LIADLAW
Almost all cultures depict the sun god as a strong, handsome man in his
late 20's to early 30's and the epitome of male perfection. He is blessed
with all the BEST QUALITIES in a man yet he has a cheery disposition
and a fiery spirit. Liadlaw fits the mold, except with some slight
differences, he has a body made of gold, and he is a second son, and
being the middle child he is always torn among his brothers, Licalibutan
and Libulan, he cannot make up his own mind that easily, he looks up to
Licalibutan the eldest and yet he is also dependent on the advices of
Libulan, the youngest. You can say he may be the brightest among the
sky creations but he was not the wisest among the lot. He also has the
tendencies to get attracted or seduced by female spirits and other
beautiful deities, which makes Libulan's job of keeping him in focus even
harder.

LIBULAN
Libulan in myths of theVisayas is portrayed as a man,
but some say moon is a female aspect of the sun so is a
woman in other myth. However Libulan is considered
as a hermaphrodite or a crossdresser. For ancient
Visayans during the olden days, babaylans garbed in
female fashion were regarded in high esteem by the
barangays. He/she is soft-spoken, well-mannered, more
effeminate and most eccentric. His body is made of
copper. He is depicted as more slender, graceful and shy.

SIDAPA AND LIBULAN
Long ago the god of death resided alone on top his
mountain. From his domain he saw the seven moons
dancing. He admired the moons for their beauty and fell
in love with them.
He realized that the other gods were also infatuated with
the moons, such as Luyong Baybay (goddess of tides)
who was singing to the moons.
To outperform the other gods, Sidapa asked the birds and
mermaids to sing his endearments to the moons. He
ordered the flowers to bloom and make sweet perfumes
that would reach the heavens. Lastly he asked the
fireflies to light a way so the moons could find their way
to him…
One of the moons came down, it was the young boy
Bulan. Sidapa showered the boy moon with gifts and
songs .

One night, Bakunawa (the moon eating dragon who
was also captivated by the beauty of the moons)
rose from the sea. Sidapa saw this and quickly flew
to the cosmos to snatch the boy Bulan before
Bakunawa could devour him.
Sidapa saved Bulan from Bakunawa and it is said
that they live together as lovers on top of Mt.
Madjaas to this day.
SIDAPA AND LIBULAN

LISUGA
• Visayans prayed to Lisuga to guide them through their sea
voyages by giving them knowledge to read the constellations in
the night sky. She taught them ancient astronomy and kept them
safe at sea as they ventured to new lands.
• Lisuga represents the need to be joyful in life and even when
adventuring in to the unknown. Just as she kept Visayans safe
out at sea with her stars. She asks that we also know that taking
risks into the unknown is something that can bring great joy and
reward.

BARANGAW
When a warrior died in a battle, the ancient Visayans
believed that they traveled up the rainbow to the sky.
These warriors also turn into gods once they reached
the skyworld, the kingdom of Kaptan, and would guide
any relatives who could avenge their deaths.
Among these warriors-turned-rainbows, a deity
called Varangao was considered the most
powerful. He became the god of the rainbow, and the
natives prayed to him before going to war or
plundering expeditions.

• Ynaguinid is the Visayan goddess of
war and poisons, who along with
Barangaw, was one of the gods
invoked before or during battle.
Babaylans and datus pray to her to
bless warriors with might, bravery,
and strength. In some tales Ynaguinid
appears as a warrior covered in many
tattoos, symbols of a victor and slayer
of men, her face streaked with blood,
her teeth sharpened like shark teeth
and blackened with coal and herbs.
YNAGUINID

• Dalikamata is an important deity in the Ancient
Visayan society due to her role as a health
goddess, more specifically the health of the eyes.
• Dalikamata is a goddess with an awesome
presence. She is depicted to be a lovely maiden
surrounded by thousands of eyes all around her
body, each eye is capable of seeing far and near
and gifted with the power of clairvoyance, keeping
track of every person that lives in the village and
knows each action the villagers did.
DALIKMATA

BULALAKAW
Bulalakaw is said to be a deity who has
the appearance of a gigantic, shining bird
or a bird-humanoid hybrid, as some
believed he looks like a thin boy wearing a
bird-like headdress or even a genderless
deity with a bird's head. Some stories
describe him to be a diwata who visits the
earthly plane in form of a comet, hence
the name "bulalakaw" (shooting star).

BURIGADANG PADA
SINAKLANG BULAWAN
• Wealth and greed go hand in hand, and both are
under the special guidance of the "golden deity"
of the Visayan pantheon, Burigadang Pada
Sinaklang Bulawan (her name usually means
Coveted Gold, Desired/Precious Gold), the
goddess of greed. Burigadang Pada Sinaklang
Bulawan is more known to the masses as the wife
of Humadapnon, one of the three heroic sons of
Alunsina in the epic poem, Hinilawod.

LALAHON
Lalahon is a mythical diwata found in ancient
visayan folktales and written myths, her traditions
has changed greatly especially since the Spanish
conquistadores occupied the Philippines. She is
seen as a goddess of harvests, guardian of
volcanoes, and goddess against natural calamities
brought about by volcanic eruptions, wildfires and
earthquakes.

SUKLANG MALAYON
• The ancient visayans also worship a
goddess of the home and hearth in the
form of Suklang Malayon, who is also the
goddess of families and happiness.
Suklang Malayon is known as the
protective sister of Alunsina and is
described as a fair lady surrounded by
birds, which serves as her messengers.

MAKAPTAN
• The god of hunger and poverty.
He is the supreme god who
dwells in the sky and the one
who killed the first man with a
thunderbolt and visited disease
and death on his descendants.

LUYONG BAYBAY
The deity who controls the rising and falling of the tides.
Her name Luyong Baybay is translated as “She who was
born from the Sea” and was worshipped by ancient
Visayan fishing villages especially in the island of Panay.
Another myth says that Luyong Baybay is very much
infatuated with the Moon Deity, Libulan, that whenever he
gets close to earth, the tides rise up because she is trying
to get close to him.

KASARAYSARAYAN SA SILGAN
• He is believed by the Visayans to be the god whom
all the rivers of the archipelago follow. He dictates
how each river should flow and on what direction.
In Panay, it was believed in the olden days that
this particular deity lives in Tinagong Dagat lake in
Lambunao, a fresh water lake which contains all
sorts of freshwater fishes that the locals of the
community depended on for livelihood and food.

MULTO
Your basic Philippine mythical
creature is the multo, which is a GHOST.

ASWANG
• Another mythological creature that
comes to mind immediately is the
aswang, which is a creature that
consumes the innards of a cadaver. The
term aswang is also used as a catch-all
name for various viscera-sucking
creatures in Philippine mythology.

MANGKUKULAM
• Any promdi knows that if you've got an ailment that can't be explained, it's
probably the fault of a mangkukulam. If you cross a mangkukulam and
you're careless with your personal effects, beware. They'll probably
perform a "kulam" using your personal effects and a doll or photograph.

SIGBIN
• This creature may not be familiar to
people from Luzon, but Boholanos
definitely know of the sigbin. It's said to
look like a small kangaroo, with flapping
ears, burning eyes, a whip-like tail, and
the ability to walk backwards. During the
Holy Week, sigbins are said to go out
and hunt for the hearts of children.

WHITE LADY
Technically, the White Lady is a multo. However, she's
popular enough that she's got her own story and
specific haunt. Any Manileño cab driver knows to be
careful when picking up a passenger at Balete Drive in
Quezon City. As the story goes, they start out picking
up a beautiful, long-haired woman in a white dress.
But the moment they look back at the White Lady, all
they see is a bruised and bloody face.

BEBEROKA
Being an archipelago, there's no shortage
of water creatures in our mythology. An
example of such is the berberoka, who lives
in freshwater and preys on fishermen. The
berberoka will suck water from lakes until
schools of fish become visible to
fishermen. Once the fishermen are drawn
to the fish, the berberoka will use the water
it sucked to drown the helpless victim.

BUNGISNGIS
When you hear the word
bungisngis, terror isn't the word
you associate with it. After all, it
translates to giggling in English.
But in Bataan, the bungisngis is a
one-eyed creature with huge
upper lips, humongous teeth,
and tusks that resemble those of
an elephant. Even worse, they
prey on livestock.

AMOMONGO
The amomongo is supposedly a
hairy white ape that
disembowels chickens, goats,
and other small animals and
then eats their intestines. If you
want to see the amomongo, it
supposedly lives at the base of
Mt. Kanlaon in Negros
Occidental.

KAPRE
Kapre is a mythical creature characterized as a
tree giant because of it’s huge, black, and hairy
built that usually stays at a branch of a tree
smoking.
The elders said that a kapre may make
contact with people to offer friendship and can
be attracted to a beautiful woman. They are not
considered as evil creatures but can be vengeful
to those who try to cut down the tree it is
inhabiting.

TIKBALANG
• There is also the tikbalang, a giant
creature with the head of a horse and
body of a man. The mythical creature is
often playful and would cause travelers
to get lost in the wild. Some pranks,
however, turn severe and cause people
to lose their minds.
• The stories of this creature are used by
parents to frighten children from going
out at night. It is said that, when you feel
disoriented or off-track when hiking, you
are getting pranked by a tikbalang and
you have to turn your shirt inside out to
ward it off.

DUWENDE
• Another playful Filipino mythical creature is the duwende.
They appear as little old men who only show themselves
to people they like. It is said that if a friendly duwende lives
in your home, you will enjoy a good and prosperous life.
• The duwende, however, is easy to offend and would often
curse people with illnesses or misfortune. To avoid this,
Filipinos would often say “tabi-tabi po,” (Excuse me) to ask
for permission before doing anything, which may anger a
duwende. Tabi-tabi po is also a very common expression
used by hikers to express respect to any supernatural
beings lingering in the forests and mountains.

TAYHO
•It is a creature with the upper body
of a human and the lower body and
legs of a horse. It is said that the
Tayho is an offspring of a female
water buffalo and a giant male Agta.

SANTILMO
•A floating flame or fire ball, similar
that stalk or chase people at night,
believed to be the ignited blood of
a person who met a tragic death.

SPANISH
COLONIAL
PHILIPPINE
LITERATURE

PASYON
•The Pasyon is an epic narrative of the life, death
and resurrection of Jesus Christ. In the stanzas of
five lines of 8 syllables each, the standard
elements of epic poetry are interwoven with a
colorful, dramatic theme.

PASYONG DAPAT IPAG-ALAB NG PUSO NG
TAONG BABASA
•Here he recounts the abuses of the friars, and
then concludes that the only time that the friars
are kind and loving to the parishioners is when
the latter are rich and submissive to them.

• Poblete’s Patnubay sa Binyagan

AWIT VS. CORRIDO
• Awit is the Tagalog word for song. It is a fabricated story from the
writer’s imagination and the characters are European. Example is
Florante at Laura by Francisco Balagtas. (12 syllables per line)
• Corrido means a metrical story, usually sung to the
accompaniment of a guitar. Example is Ibong Adarna (8 syllables
per line)

KOMEDYA/MORO-MORO
• It is a theatrical drama. The theme centers on the
animosity between the Christians and the Muslims.
The presence of the vital elements in a drama like
love, hate, war, religion and parental disputes make
the Komedya spectacular not only because of the
colorful costumes but also of the real and
suggestive moments of the performers on stage.

•The major contribution brought to the Philippine
literature under the American regime (1898-
1941) is the production of the Philippine
literature in English.

•The Philippine literature under the American
regime saw its dawn with the introductions of free
public instruction and the use of English as a lingua
franca in all levels of education in public schools.

• The Filipinos won against the Spaniards who colonized Philippines
for more than 300 years.The Philippine flag was hoisted as on June
12, 1898 as a symbol of independence. Gen. Emilio Aguinaldo was
elected the first president of the Philippine republic, which was
short-lived. Americans colonized the country.

•Filipino writers went into all forms of literature.
Their writings showed their love for the country
and their longing for independence.
•Spanish and Tagalog and the vernaculars were the
languages used in writing during the first years in
American period, but Spanish and Tagalog were the
predominated language.

•In 1910, anew group started to write in English. Hence,
Spanish,Tagalog, theVernaculars and finally English, were
the mediums used in literatures during these times.The
first English teachers were the Thomasites.

•Spanish writers wrote about nationalism.
•Tagalog writers wrote about their lamentations
on the conditions of the country and their
attempts to arouse love for one’s native tongue.
•English writers imitated the themes and
methods of the Americans.

FERNANDO MA. GUERRERO
•Known as the “Prince of
Filipino Lyric Poets” in Spanish
•Wrote a book of poems
entitled Crisalidas

JOSE CORAZON DE JESUS
• Popularly known as Huseng
Batute
• Also called as the Poet of
Love
• Ang Isang Punongkahoy is
believed to be his masterpiece

SEVERINO REYES
•The Father of
Tagalog Drama
•Author of Walang
Sugat

PAZ LATORENA
• Paz Manguera Latorena was born on Jan. 17, 1908 in
Boac, Marinduque. She was the oldest among the ten
children of Magda Manguera and Ricardo Latorena
• In 1926, she took up Education at the University of the
Philippines (UP) in Manila where she also attended a
short story writing class under Paz Márquez-Benítez.
• She won the third prize in Jose Garcia Villa’s Roll of
Honor for the Best Stories of 1927 for her story, “The
Small Key.”

JOSE GARCIAVILLA
Jose Garcia Villa (1908–97) is best known as a
modernist poet in Philippine literature whose
experiments and audacity brought him both
notoriety and fame. Before he became a poet,
however, he was a painter. He considered
painting his “first love” and actively painted and
drew in the 1920s and 1930s. While poetry
eventually took precedence, the visual arts
remained a constant in Villa’s life and work—as
inspiration, influence, and self-expression.

THE BASHFUL ONE
BY: JOSE GARCIAVILLA
,

PHILIPPINE LITERATURE
DURINGTHE JAPANESE PERIOD
1941-1946

• The Japanese period has
been called one of the
darkest days in the history
and literary tradition of the
Philippines. The wartime
experiences and events of
the troubled times left
indelible imprints to the
lives of the Filipino nation.

• The stride and growth of
the Philippine literature
in English language and
the development of
Philippine literature in
general was interrupted
during the Japanese
period. The Japanese
censured all publications
except Tribune and Philip
pine Review.

• During the Japanese period,
Philippine Literature in English
was stopped and writers
turned to writing in Filipino.
The Japanese authorities, with
extreme hate to the
Americans, did their best to
turn the Filipinos’ sympathy
away from them.

• In prose literature, the
weekly Liwayway Magazine was
put into strict surveillance and was
managed by a Japanese
named Ishiwara.
• The Japanese
language, Nippongo was
introduced but not well-embraced
by the Filipinos despite it is being
forcefully taught by the Japanese.

• With the prohibition of writing
literary pieces in English language,
Filipino literature was given a break.
• Many Filipino writers wrote plays,
poems, short stories, etc. in the
Tagalog and other vernacular
language. Topics and themes were
often about life in the provinces to
escape Japanese control and
censorship.

• Haiku
A poem of free verse that the
Japanese liked. It is made up of
seventeen(17) syllables divided
into three(3) lines. The first line
has five, the second – seven and
the third – five. It is allegorical
in meaning, short and covers a
wide scope in meaning.

•Tanaga
Like haiku, it is short,
but has measure and
rhyme. Each line has
seventeen syllables and
is also allegorical in the
meaning.

• The drama experienced a lull during the Japanese period because movie houses
showing american films were closed. The big movie houses were just made to
show stage shows. Many of the play were reproductions of English plays to
Tagalog the translators were Francisco Soc Rodrigo, Alberto Concio, and Narciso
Pimentel. They also founded the organization of Filipino players named, dramatic
Philippines.
• A few of the play writers were:
1. Jose Ma. Hernandez – wrote PANDAY RIRA
2. Francisco Soc Rodrigo – wrote sa PUA, SA PUTI
3. Clodualdo del Mundo – wrote BULAGA(an expression in the game hide and seek)
4. Julian Cruz Balmaceda – wrote SINO BA KAYO?, DAHIL SA ANAK, and HIGANTI
NG PATAY.

• Nestor Vicente Madali Gonzalez, better
known as N.V.M. Gonzalez, fictionist,
essayist, poet, and teacher, articulated the
Filipino spirit in rural, urban landscapes.
Among the many recognitions, he won the
First Commonwealth Literary Contest in
1940, received the Republic Cultural
Heritage Award in 1960 and the Gawad
CCP Para sa Sining in 1990.

MANUEL E. ARGUILLA (1911-1944) was an Ilocano
who wrote in English. He was best known for his short
story "How My Brother Leon Brought Home a Wife."
which received first price in the Commonwealth
Literary Contest in 1940.
Most of his stories depict life in Barrio Nagrebcan,
Bauang, La Union, where he was born in 1911. He
earned his Bachelor of Arts in Education in 1933 at the
University of the Philippines. He became a member
and later the president of the UP Writers' Club and
editor of the Literary Apprentice. He married Lydia
Villanueva, another talented writer, and they lived in
Ermita, Manila.

Nick Joaquin, byname
of Nicomedes Joaquin, (born May 4,
1917, Paco, Manila, Philippines—died
April 29, 2004, San Juan), Filipino
novelist, poet, playwright, essayist, and
biographer whose works present
the diverse heritage of the Filipino
people.

Stevan Javellana was born in 1918 in Iloilo. He
fought as a guerrilla during the Japanese invasion
of the Philippines. After World War II, he
graduated from the University of the Philippines
College of Law in 1948. He stayed in the United
States afterwards but he died in the Visayas in
1977 at the age of 59.
Javellana was the author of a best-selling war
novel in the United States (U.S.) and Manila,
Without Seeing the Dawn, published by Little,
Brown and Company in Boston in 1947.

GENRES AND FORMS
IN 21ST
CENTURY

DRAMA
It is the genre of literature with
stories composed of verse or prose
which is meant to be dramatically
or theatrically performed. Its
emotions and conflicts are
expressed through dialogue and
movements or actions.

CREATIVE NONFICTION
• Creative nonfiction can be an essay, a journal article, a research paper, a memoir, or a
poem; it can be personal or not, or it can be all of these.
• Some of the creative nonfiction in the Philippines include but not limited to:
1. The Cardinal’s Sins,The General’s Cross,The Martyr’sTestimony, and
Other Affirmation by Gregorio C. Brillantes;
2. Sapay Koma by Jhoanna Lynn Cruz

BLOG
A blogger is someone who writes regularly
for an online journal or website.
It is a web log containing short articles called posts that can be
changed regularly. Some blogs are written by one person
(called blogger) containing his/her hobbies or interests,
opinions, and experiences, while others are written by many
different people.

POETRY
It is a verse and rhythmic writing with imagery that evokes
an emotional response from the reader. Poetry is “life
distilled” through words and language.The art of poetry is
rhythmical in composition, written or spoken. Poetry is for
entertaining and exciting pleasure by beautiful, imaginative,
or elevated thoughts.

Mobile phone text tula– it is a group of words that uses
mobile gadgets. It is also more like a tanaga. It consists of four
lines and seven syllables, and every ending of lines has a rhyme
word.
MOBILE PHONE TEXT
TULA

SPOKEN WORD POETRY
It is written on a page but performed for an audience.
It is a piece of writing that is meant to be read aloud. It
may be stories or poems.

FICTION
• Fiction has genres that can be defined as
narrative literary works wherein its content is
produced by the imagination. In fiction something
is invented, or imagined; a made-up story

SCIENCE FICTION
• A genre of speculative fiction dealing with imaginative
concepts such as futuristic science and technology, space
travel, faster than light travel, parallel universe and
extraterrestrial life.
• It often explores the potential consequences of scientific
and other innovations and it has been called a “literature
of Ideas”.

FANTASY
Fantasy – it is the
forming of mental
images with strange or
other worldly settings
or characters and
invites suspension of
reality.

SHORT STORY
This is brief fiction that can be read in one
seating. It has a fully developed theme but is
significantly shorter and less elaborate than a
novel.

FLASH FICTION
This is a style of fictional literature or fiction of extreme
brevity.There is no widely accepted definition of the
length of the category. Some self-described markets for
flash fiction impose caps as low as three hundred words,
while others consider stories as long as a thousand
words to be flash fiction.

HORROR
These are
frightfully shocking,
terrifying, or
revolting stories.

MYSTERY
It deals with unraveling
of secrets and solution
of a crime.

HUMOR
Humor – it is the faculty of
perceiving what is amusing
or comical. It is fiction full of
fun, fancy, and excitement
which meant to entertain.
This genre of literature can
actually be seen and
contained within all genres.

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