The document summarizes the history and development of Philippine literature from Spanish colonization to the 20th century. It notes that Spanish introduced the Roman alphabet and Christian teachings, making Spanish the literary language. The first book printed in the Philippines was a prayer book in Spanish and Tagalog. Native writers called "ladinos" emerged who were fluent in both Spanish and Tagalog and published devotional poetry. Major literary works in the 19th century included Florante at Laura by Balagtas and the novels of Rizal which portrayed oppression and corruption. Their works and those of Bonifacio and Jacinto influenced the Philippine revolution. Literature continued developing in native languages through the early 20th century.

2. HISTORICAL BACKGROUND
 It is accepted that the spanish colonization of the
philippines started in 1565 during the time of Miguel Lopez de
Legazpi.
 Changes in lives of filipino.

3. SPANISH INFLUENCES ON THE
PHILIPPINE LITERATURE
 The first Filipino alphabet callled ALIBATA was replaced by the
ROMAN ALPHABET.
 The Teaching of the Christian Doctrine became the basis of
religious pratices. EX. Novena,Rosary,Prayer every 6 o’clock
 The Spanish became the Literary Language.
 Our Periodicals during these times gained a religious tone.

4. SPANISH INFLUENCES ON THE
PHILIPPINE LITERATURE
 Many Grammar books are printed in Filipino
 Ancients literature was collected and translated to tagalog and
other dialects

5. THE FIRST BOOK
 Doctrina Christiana (1593), the first book to be printed in the Philippines, was a
prayerbook written in Spanish with an accompanying Tagalog translation. It was,
however, for the exclusive use of the missionaries who invariably read them aloud
to the unlettered Indio catechumens (Medina), who were to rely mainly on their
memory. But the task of translating religious instructional materials obliged the
Spanish missionaries to take a most practical step, that of employing native speakers
as translators. Eventually, the native translator learned to read and write both in
Spanish and his native language.

6. THE LADINO’S
 This development marked the beginning of Indio literacy and thus spurred the creation of
the first written literary native text by the native. These writers, called ladinos because of their
fluency in both Spanish and Tagalog (Medina, pp. 55-56), published their work, mainly
devotional poetry, in the first decade of the 17th century. Among the earliest writers of note
were Francisco de San Jose and Francisco Bagongbata (Medina). But by far the most gifted of
these native poet-translators was Gaspar Aquino de Belen (Lumbera, p.14). Mahal Na Pasion ni
Jesu Christo, a Tagalog poem based on Christ’s passion, was published in 1704. This long poem,
original and folksy in its rendition of a humanized, indeed, a nativized Jesus, is a milestone in the
history of Philippine letters. Ironically — and perhaps just because of its profound influence on
the popular imagination — as artifact it marks the beginning of the end of the old mythological
culture and a conversion to the new paradigm introduced by the colonial power.

7. THE LADINO’S
 Until the 19th century, the printing presses were owned and
managed by the religious orders (Lumbera, p.13). Thus, religious
themes dominated the culture of the Christianized majority. But the
native oral literature, whether secular or mythico-religious continued.
Even among the Christianized ethnic groups, the oral tradition
persisted in such forms as legends, sayings, wedding songs such as
the balayan and parlor theater such as theduplo (Medina, p. 32).

8. 18TH CENTURY THE SECULAR
LITERATURE OF SPAIN
 18th century, secular literature from Spain in the form of medieval
ballads inspired the native poetic-drama form called the komedya, later
to be called moro-moro because these often dealt with the theme of
Christians triumphing over Moslems (Lumbera, p. 15).


9.  Jose de la Cruz (1746 – 1829) was the foremost exponent of
the komedya during his time. A poet of prodigious output and urbane style,
de la Cruz marks a turning point in that his elevated diction distinguishes
his work from folk idiom (as for instance, that of Gaspar Aquino de
Belen). Yet his appeal to the non-literate was universal. The popularity of
the dramatic form, of which he was a master, was due to it being
experienced as performance both by the lettered minority and the illiterate
but genuinely appreciative majority.

10.  Francisco Baltazar (1788 – 1862), popularly called Balagtas, is the
acknowledged master of traditional Tagalog poetry. Of peasant
origins, he left his hometown in Bigaa, Bulacan for Manila, with a
strong determination to improve his lot through education. To
support his studies, he worked as a domestic servant in Tondo. He
steeped himself in classical studies in schools of prestige in the
capital.

11.  Great social and political changes in the world worked together to make Balagtas’
career as poet possible. The industrial revolution had caused a great movement of
commerce in the globe, creating wealth and the opportunity for material improvement in
the life of the working classes. With these great material changes, social values were
transformed, allowing greater social mobility. In short, he was a child of the global
bourgeois revolution. Liberal ideas, in time, broke class — and, in the Philippines — even
racial barriers (Medina). The word Filipino, which used to refer to a restricted group (i.e.,
Spaniards born in the Philippines) expanded to include not only the acculturated wealthy
Chinese mestizo but also the acculturated Indio (Medina). Balagtas was one of the
first Indios to become a Filipino.

12.  But the crucial element in Balagtas’ unique genius is that, being caught
between two cultures (the native and the colonial/classical), he could
switch codes (or was perceived by his compatriot audience to be switching
codes), provide insight and information to his oppressed compatriots in
the very style and guise of a tradition provided him by a foreign (and
oppressive) culture. His narrative poem Florante at Laura written in
sublime Tagalog, is about tyranny in Albanya, but it is also perceived to be
about tyranny in his Filipino homeland (Lumbera).

13.  Despite the foreign influence, however, he remained true to his native traditions. His
verse plays were performed to the motley crowd. His poems were sung by the literate for
the benefit of the unlettered. The metrical regularity and rhyme performed their age-old
mnemonic function, despite and because of the introduction of printing.
 Printing overtook tradition. The printed page, by itself, became the mnemonic
device, the stage set for the development of prose. The first Filipino novel was Ninay,
written in Spanish by Pedro Paterno, a Philippine-bornilustrado (Medina p. 93). Following
the sentimental style of his first book Sampaguitas (a collection of poems in Spanish), the
novel endeavored to highlight the endearingly unique qualities of Filipinos.

14. THE LIFE OF RIZAL AND HIS
WORK’S
 National Hero Jose Rizal (1861 – 1896) chose the realistic novel as
his medium. Choosing Spanish over Tagalog meant challenging the
oppressors on the latter’s own turf. By writing in prose, Rizal also cut
his ties with the Balagtas tradition of the figurative indirection which
veiled the supposed subversiveness of many writings at that time.

15.  Rizal’s two novels, the Noli Me Tangere and its sequel El Filibusterismo,
chronicle the life and ultimate death of Ibarra, a Filipino educated abroad, who
attempts to reform his country through education. At the conclusion of the Noli,
his efforts end in near-death and exile from his country. In the Filibusterismo, he
returns after reinventing himself as Simoun, the wealthy jeweler, and hastens social
decay by further corrupting the social fabric till the oppressed react violently to
overthrow the system. But the insurrection is foiled and Simoun suffers a violent
death.

16.  In a sense, Rizal’s novels and patriotic poems were the
inevitable conclusion to the campaign for liberal reforms known as
the Propaganda Movement, waged by Graciano Lopez Jaena, and
M.H. del Pilar. The two novels so vividly portrayed corruption and
oppression that despite the lack of any clear advocacy, they served to
instill the conviction that there could be no solution to the social ills
but a violent one.

17.  Following closely on the failed reformist movement, and on Rizal’s novels, was the
Philippine revolution headed by Andres Bonifacio (1863 – 1897). His closest aide, the
college-bred Emilio Jacinto (1875 – 1899), was the revolutionary organization’s ideologue.
Both were admirers of Rizal, and like Rizal, both were writers and social critics
profoundly influenced by the liberal ideas of the French enlightenment, about human
dignity. Bonifacio’s most important work are his poems, the most well-known being Pag-
Ibig Sa Tinubuang Lupa. Jacinto wrote political essays expressed in the language of the folk.
Significantly, although either writer could have written in Spanish (Bonifacio, for instance,
wrote a Tagalog translation of Rizal’s Ultimo Adios), both chose to communicate to their
fellowmen in their own native language.

18.  The figure of Rizal dominates Philippine literature until the
present day. Liberalism led to education of the native and the
ascendancy of Spanish. But Spanish was undermined by the very
ideas of liberation that it helped spread, and its decline led to nativism
and a renaissance of literature in the native languages.

19.  The turn of the century witnessed not only the Philippine
revolution but a quieter though no less significant outbreak. The
educated women of the period produced significant poetry. Gregoria
de Jesus, wife of Andres Bonifacio, wrote notable Tagalog poetry.
Meanwhile, in Vigan of the Ilocano North, Leona Florentino, by her
poetry, became the foremost Ilocano writer of her time.

20. GROUP OF:
JHON VINCENT BALLARES
LEANDRO JUDE IMPOK
JULFAHAD KULAYAN
CEDRIC LEQUIGAN
PETER JOHN CASINILLO