I.

Introduction
The variety and abundance of Philippine literature evolved even before the colonial periods. Folk tales, epics, poems and marathon chants existed in most ethnolinguistic groups that were passed on from generations to generations through word of mouth. Tales associated with the Spanish conquest also took part in the countrys rich cultural heritage. Some of these pre-colonial literary pieces showcased in traditional narratives, speeches and songs are Tigmo in Cebuano, bugtong in Tagalog, patototdon is Bicol and paktakon in Ilongo. Philippine epics and folk tales are varied and filled with magical characters. They are either narratives of mostly mythical objects, persons or certain places, or epics telling supernatural events and bravery of heroes, customs and ideologies of a community.

a. Element Highlights
Many of modern literature evolves from thework of the earlier forms. This can be patterned according to the nature of literature where there is universality in form. In the context of Philippine literature, the very idealistic component is the artistic element. Various forms of modern Philippine literature includes awakening
Dark Age Associated with the Philippine Revolutionary forces during the Spanish Rule

of the the Filipinos to the present state of the nation but this is indirectly seen by a naive Juan Dela Cruz. This happened also during even the Pre-Colonial periods and most prevalently during the Philippine Dark Age. Although Philippine literature comes in any form, there is this one common demonstration of how and why this contemporary pieces of artwork is continuously evolving. This demonstration is the actual power or forces of this piece of artwork done to mankind. This piece might be generic to anyone but calculating its effects to the behavior of humanity is hardly done.

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II.

A Glimpse of Philippine Literature

The Pre-Colonial Period Indigenous Philippine literature was born in the ethnic farms and community, growing out of a peoples needs and customs. In the lineal villages along river banks and sea coasts, in forests, riddles (bugtong) were used to entertain. Around a fire,

Riddle Sharpens childrens observation of their environment

after a meal, parents and children would exchange riddles as an affectionate game as well as a learning process. At the heart of a riddle is a metaphor, or talinghaga, linking two unrelated images both found in the riddlers immediate setting. The riddle not only sharpened childrens observation of their environment, but also taught them about the surrounding world and its imaginative relationships, thus giving them a vision, a way of seeing. Other forms brought the folk verse of riddle and proverb to the level of poetry, being written around an idea or insightto teach a lesson, to express a value or a view of the worldin the imaging and speech of the people. The Tagalog tanaga, for example, often in monorhyming heptasyllabic lines, speaks of values, of strength in pain. Songs were active literature, giving rhythm to the activities of daily life, such as fishing or working in the field, buying and selling food, putting children to sleep, joking and drinking, celebrating marriage and victory in battle and mourning the dead. The bayok spoke of love; the balagtasan on stage and later, on radio and television, debated in verse and in prose, seriously or in jest, various facets of Philippine life.

Song Considered as active kind of literature

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Myths about gods, creation and heroes explored mans origins and the tribes racial history. Legends about islands, mountains, animals and fruits explained the wonders of nature. Epics like Tuwaang, 1958, Lam-ang, Hinilawod and Bantugan, 1930, linked tribal man and his gods, his physical exploits and his spiritual strength, his real and supernatural worlds.
Oral Literature Spontaneous expression of a person

The oral forms of Philippine literature are the spontaneous expression of a people, encasing their feelings and vision in words crafted by the poets and storytellers of the community. Transmitted and preserved orally, these early forms of literature are not primitive in the sense of being rough and inchoate, but in the sense of being the product of tradition and folk practice rather than of education and artistic training, works of the bard rather than of the artist. Yet they are genuine artistic expressions proper to the context and the time, and represent the ethos of the people before it was tampered with by colonization or transformed by other external influences. His pre-colonial literature shows the Filipino as being rooted in the Southeast Asian cultural tradition. This Asian dimension later served as a filter for the Western culture brought by colonization. The Spanish Colonial Period (1565-1897) The establishment of the Spanish colonial government in the Philippines in the 16th century brought to bear upon literature the influences of Spanish/European culture and the Roman Catholic religion.

Doctrina Christiana First published book in the Philippines

Because of the monopoly of printing presses by religious orders prior to the 19th century, early written literature was predominantly religious in content and/or in purpose; novenas, books of prayers, books of conduct, grammars and dictionaries for the use of friars teaching religion to the natives. The Doctrina

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Christiana (Christian Doctrine), 1593, the first book published in the Philippines, was printed by the Dominican press. May Bagyo Mat May Rilim (Though It Is Stormy and Dark), which literary historian Bienvenido Lumbera identifies as the first printed literary work in Tagalog, appeared in the book Memorial de la vida cristiana en la lengua tagala (Guidelines of Christian Life in the Tagalog Language), 1605, by the Dominican friar Francisco Blancas de San Jose. The monorhyming heptasyllabic line and the homespun talinghaga, or a controlling boat-metaphor, link the poem to oral pre-colonial poetry, but the Christian content sets it in the colonial context. The Memorial de la vida cristiana also contains poems by San Jose and by the bilingual (ladino) poet Fernando Bagongbanta. The ladino poems interwove lines in Spanish and the vernacular showing the confluence of the native and colonizing cultures. Further, because the Tagalog lines were simply a translation of the controlling Spanish, they also showed the ascendancy of the colonial language over the native.
Tomas Pinpin Printer of the Dominican Press

Tomas Pinpin, printer for the Dominican press from 1610 to 1630, used the same technique in the six auit inserted in his book Librong Pagaaralan nang mana Tagalog nang Uicang Castila (The Book from which the Tagalogs May Study the Spanish language), 1610, as exercises to be chanted by students. The first long work of conscious design and careful

composition was the pasyon, or narrative of Christs life and sufferings, entitled Ang Mahal na Passion ni Jesu Christong P. Natin na Tola (The Sacred Passion of Jesus Christ Our Lord in Verse), 1704, by Caspar Aquino de Belen, which eventually was followed by other pasyon in Tagalog and the major languages.

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The most popular of the Tagalog pasyon is the Casaysayan nang Pasiong Mahal ni Jesucristong Panginoon Natin na Sucat lpag-alab nang Puso nang Sino-mang Babasa (An Account of the Sacred Passion of Jesus Christ Our Lord which Should Inflame the Heart of Anyone Who Reads It), 1814, popularly called the Pasyong Pilapil (The Passion by Pilapil), after the ecclesiastical censor (long thought to be the author), and also called Pasyong Henesis (Genesis Passion), because it starts from the Creation of Adam and Eve. The pasyon has been called a Christian folk epic because, although its narrative comes from the Bible and Christian tradition, the folk interpretation has imbued it with Filipino sentiments and values. The following extract from the Pasyong Pilapil shows Mary and Jesus meeting before the Passion the feelings of Filipino mother and son dominating those of Virgin Mother Elect and Redeemer.
Pasyon A traditional song chanted in homes and chapels during the lent season.

The pasyon was traditionally sung and chanted in homes and chapels throughout Lent. Today, although this is generally done only during Holy Week and, in some places only on Good Friday, the chanting and singing continue, sometimes still surrounded by such folk practices as the cooking of special food, the building of lean-tos to hold readers and audience, or the reading in turn or in teams at visitas (chapels) and homes. It was the pasyon too that, enacted in costume and on stage, became the sinakulo, the religious drama performed throughout Holy Week. The pasyon replaced the epic poems of the past and came to be a social epic, a mirror of the collective consciousness, their own values, ideals in which, as Reynaldo lleto explains, ordinary people saw articulated and even hopes for liberation (Ileto: 1979). Later modern pasyon texts and adaptations took up themes of protest and liberation. Marcelo H. del Pilars Pasyon Dapat lpag-alab ng Puso (Passion that Should Inflame the Heart), ca. 1887, warns the Filipino to avoid the convent and banish the friar. Pascual Pobletes Patnubay ng Binyagan (Guide for the

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Baptized), 1935, was written for the Iglesia Filipina Independiente (Aglipayan Church) and correlates the life of Jesus to the Filipino struggle for independence from America. Nicasio Geronimos Pasiong Pilipino: Ang Buhay at Hirap ng Dakilang Martir na si Dr. Jose Mercado Rizal (Filipino Passion: The Life and Suffering of the Great Martyr Dr. Jose Mercado Rizal), 1968, is a poem in pasyon form that shows Rizal as Christ reincarnated and as the savior of the Malay race. Francisco Soc Rodrigos Si Kristo ay Rebelde (Christ is a Rebel), 1970, written during the Marcos era, sees Christ as not meek and submissive, but a rebel for justice. To the Filipino, the pasyon has obviously gone beyond its religious meaning to become a poetic statement of sentiments beyond the personal and the familial towards the social and the national. Two other types of narrative poems, the awit and the corridor, enter the native repertoire in the 18th century. Derived from European metrical romances, such as the Charlemagne and the Arthurian cycles, and Spanish and Portuguese history, legend and books of chivalry, they were translated into or rewritten in the local languages and constituted popular or secular reading. Both were sung and chanted while tending a carabao, or taking vegetables to market, or putting a child to sleep. At first they circulated as oral literature, then later in small printed novenasized booklets. They also came to be the bases of the popular drama form, the komedya. These popular romances sang of a medieval European world of royals, warriors and loversfrom he folk writers viewpoint of wonder at this regal world of such contrast to their colonial condition.
Florante at Laura Considered as the best-known work of Francisco Balagtas Baltazar.

The peak of the genre is seen in the work of Francisco Baltazar, popularly known as Balagtas. His best-known work, the awit Florante at Laura (F1orante and Laura), popular in story and style, bore marks of classical learning and gems of native wisdom still much quoted as aphorisms. It has been read by subsequent critics as bearing seeds of protest against colonization and

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oppression, and thus as the root of a tradition of Filipino nationalist literature. Prose works in narrative mode first appeared in print in the 19th century, most of them directly dedicated to colonizing strategies and colonial ideals. Fr. Miguel Lucio y Bustamantes narrative Si Tandang Basio Macunat (Old Basio Macunat), 1885, warns of the dire effects of studying Spanish or other things unfit for natives and their condition. Fr. Modesto de Castros Pagsusulatan ng Dalawang Binibini na si Urbana at Fetiza

(Correspondence Between Two Young Women Urbana and Feliza), 1864, a proto-novel in the form of a series of letters between sisters, set out colonial mores for feminine behavior which still affect social attitudes and behavior today and also sketched stereotypes of popular characters found in later Tagalog dramas and novels.
Fr. Antonio Ubeda A Cebuano narrator of La Teresa.

Fr. Antonio Ubedas La Teresa (The Teresa), 1852, is a Cebuano narrative in dialogue form that presents a story that is mainly a framework for a discourse on dogma and sound Christian living. Also concerned with duty and behavior, especially for women, it includes criticism of superstition and advice on an economic practice ( prenda or mortgage), and concludes with the maxim: Ang matood nga pag-higugma anaa sa pagpadayag sa buhat True love is revealed in works (Mojares: 1983). In spite of the literature of colonization, which imposed Spanish culture, mores and forms, a national and nationalist consciousness grew. This came through such pathways as education (on ones own or abroad in freer climes), the actual experience of forced labor, eviction from land and other forms of injustice and oppression, and such catalyzing events as the Cavite Mutiny and the execution of Fathers Gomez, Burgos and Zamora in 1872.

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A royal decree of 1863 provided for a complete educational system at elementary, secondary and tertiary levels. This eventually produced writers who could and did use Spanish for literary purposes rather than for religious purposes or under the direction of the religious as the ladino poets had done. Pedro Paternos collection of poems, Sampaguitas, 1880, and his novel Ninay, 1885, were insistently Filipino, the latter taking detours through native customs and traditions, not only for local color but for cultural assertion. Ninay, antedating Rizals Noli Me Tangere (Touch Me Not) by two years, is the first Filipino novel ever written.
Noli and El Fili The great artistic work of the great national hero.

From these circumstances was born the literature of reform, prelude to that of revolution. The literary realism of the novels of Jose Rizal, Noli Me Tangere, did not 1887, only and have El Filibusterismo on the (Subversion), 1891, impact

consciousness of Filipinos beginning to reject Spanish rule, but also on the works of succeeding writers. Many later works of fiction, drama, dance and other arts have drawn from or referred to his characters, plots and literary style. Rizals poetry as well left lasting imprints on the emerging national consciousness and on succeeding writers. The achievement of his best poems (A Las Flores de Heidelberg [To the Flowers of Heidelberg], Ultimo Adios [Last Farewell], Mi Retiro [My Retreat]) lies in the quality of the writing, in the graceful and sonorous use of the Spanish language and especially in the shaping of both by the motive emotion of love of country. In them we have a poets personal sacrifice for the country dovetailing with his art (Lumbera and Lumbera: 1982).
Marcelo H. Del Pilar Essayist of the La Solidaridad.

Marcelo H. del Pilars essays in Spanish (e.g. La Soberania Monacal en Filipinas [Monastic Supremacy in the Philippines] and articles in La Solidaridad) and poetry in Tagalog (e.g. Sagot ng Espaa sa Hibik ng Pilipinas [Spains Reply to the Complaints of

Philippine Literature and Beyond

the Filipinos], a complementary piece to Hermenegildo Flores Hibik ng Pilipinas sa Inang Espanya [Complaints of the Filipinos to Mother Spain]) were significant contributions to the literature of reform. It was his parodies of sacred forms like the catechism and popular forms like the pasyon and the duplo that most effectively brought home to the people his protests against colonial and friar rule. His writing and his editorship of La Solidaridad (Feb. 15, 1889) made Plaridel a major force in the Propaganda Movement. As the 19th century drew to a close, it became clear that the Propaganda Movement was not bringing about changes in colonial policy. Reformism was abandoned; the Revolution began. The use of Tagalog by the members of the Katipunan linked the language with nationalism, and the literature written in it in the succeeding years became a major factor in the formation of a revolutionary consciousness and in the Revolution. This literature of Revolution includes such works as Andres Bonifacios Pag-ibig sa Tinubuang Lupa (Love for the Native Land) and the Katipunan manifesto Ang Dapat Mabatid ng mga Tagalog (What the Tagalog Should Know), Apolinario Mabinis La Revolucion Filipina (The Philippine Revolution), 1902, as well as Emilio Jacintos short essays known collectively as Liwanag at Dilim (Light and Darkness). The need to awaken awareness, nationalist fervor and action, and certainly the urgency of revolution brought to the fore the essay as literary formin the pages of revolutionary papers like La Solidaridad and the Katipunan newspaper Kalayaan, 1899, and later nationalist publications like Lipang Kalabaw, 1907-1909, and Muling Pagsilang, 1901. Less visible than the above literature proceeding from and directed to leaders of the Revolution were the prayers, songs,

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awit and poems that circulated among the masses and, the Ileto study points out, prepared their spirit and consciousness for revolt of the masses. Scholars are finding out that there was a literature to support the Little Tradition, as well as the Great Tradition that images. By the end of the Spanish colonial period, Philippine literature had grown from its community matrix, through colonial In its influences, to the national and nationalist purposes. a truly Filipino literature. The American Colonial Period (1888-1945) to the Present The early years of the American colonial regime saw the continuance of the literature of protest, now directed at the new colonizers. In the drama, such writers as Tomas Remigio, Juan Matapang Cruz, Juan Abad and Aurelio Tolentino were arrested on charges of sedition because of their anti-American plays Malaya (Free), 1898, Hindi Aco Patay (I Am Not Dead), 1903, Tanikalang Guinto (Golden Chain), 1902 and Kahapon, Ngayon at Bukas (Yesterday, Today and Tomorrow), 1903, respectively. The first decade also saw the continuation and eventual decline of Philippine literature in Spanish. The poems of Fernando Ma. Guerrero (Crisalidas [Chrysales], 1914), Cecilio Apostol (Pentelicas [from Pentelicus, a mountain near Athens, Greece.), 1941), Jesus Balmori (Mi Casa de Nipa [My Nipa Hut], 1938), Manuel Bernabe (Cantos del Tropico [Songs of the Tropics], 1929; Perfil de Cresta [Profile of the Crest], 1957) and Claro M. Recto (Bajo los cocoteros [Under the Coconut Trees], 1911); the novels of Balmori (Se deshojo la flor, [literally, The Unleafing of the Flower], 1915; Bancarrota de almas [Bankruptcy of Souls], 1911) and Antonio M. Abad (El Ultimo Romantico [The Last jointly resulted in the Philippine Revolution of 1896. An example is a kundiman expressing the revolution in folk

development is seen the emergence of the Filipino people and of

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Romantic], 1927; El Campeon [The Champion], 1939) melded Spanish literary tradition to commentary on Philippine society and, eventually, to the patriotic sentiments of reform and revolution, often showing a poetic lineage traceable to Rizal and other writers of the Propaganda Movement and the 1896 Revolution. The establishment by the American insular government of the public educational system in 1901 had profound effects on Philippine literature. English became the medium of instruction and the language of schooled literature. American values and images filled textbooks and thus, the minds and aspirations of Filipino students. From the schools came the first Filipino writers in English who sought to capture Philippine experience in the borrowed alien language. The short story showcased the skill and art of such writers as Manuel Arguilla who captured the gentleness of rural life (Morning in Nagrebcan; A Son is Born); Bienvenido Santos, chronicler of the lives and pain of Filipinos exiled abroad or trapped at home (Scent of Apples; End to Laughter); Arturo Rotor, whose stories about doctors and convicts explored the inner life of the city and institutions (At Last This Fragrance; Deny the Mockery); Carlos Bulosan who wrote and lived the injustice suffered by migrant Filipino laborers (As Long as the Grass Shall Grow; The Story of a Letter); and N.V.M. Gonzales, whose settings for his Filipino stories range from Mindoro to the city and foreign lands (Bread of Salt; A Warm Hand). The first decades saw the growth of poetry in English, with Jose Garcia Villas poetry published in the United States and considered alongside those of his American contemporaries. The era also crystallized the confrontation between writing as a personal art and, in the work of Salvador P. Lopez and others, as a reflection of society.

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In this period, the sarsuwela, regnant drama form of the 1920s and 1930s, came to be replaced on the city stages by drama in English by foreign authors, and later by the works of such Filipino playwrights as Wilfrido Ma. Guerrero, Severino Montano, Alberto Florentine and Nick Joaquin. Although writing in English came out of the universities and was understandably quite Americanized in style, form and content, at its best it captured the nuances and effects of American Ricaredo culture in confrontation with Philippine reality. Its Demetillo, Emmanuel Torres, Rolando Tinio, Cirilo maturity is seen in contemporary poems (by Carlos Angeles, Bautista, Edith Tiempo, Alfrredo Navarro Salanga, Alfred Yuson, Marjorie Evasco, Ramon Sunico, Fatima Lim, Marne Kilates, Ophelia Dimalanta, Gemino Abad, Ricardo de Ungria, etc.), stories (by Francisco Arcellana, Wilfrido Nolledo, Nick Joaquin, Edilberto Tiempo, Rowena Tiempo Torrevillas, Jose Dalisay, etc.), novels (by F. Sionil Jose, Ninotchka Rosca, Linda Ty Casper, Bienvenido Santos) and essays that succeed in capturing Philippine life and reality in the English language and in grafting the language in Filipino ways, adequate for and atuned to the native sensibility. Through all this evolution, the mainstream of Philippine literature continued to be in the native languages, and then in Filipino, the evolving national language. A romantic strain continued in the work of poets and novelists who explored idyllic rural life and the sentiments informing familiar and personal relationships. The reatistic mode that had begun in Rizals novels continued in stories, novels and poems that were critical about society and analytical aboutFilipinocustoms and manners. In later years, this grew into a social realism that confronted squarely the problems of societyand especially of the massesin fiction that refused to

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stop at mirroring and insisted on involvement. A landmark work was the short story anthology, Mga Agos sa Disyerto (Waves in the Desert), 1964, in which Efren R. Abueg, Edgardo M. Reyes, Eduardo Bautista Reyes, Rogelio L. Ordonez and Rogelio R. Sikat brought Philippine fiction into the age of modernism. The poets in the vernacular drew from a long verse tradition reaching back to epics and romances which they welded to themes of love and patriotism. Poet and journalist Jose Corazon de Jesus, although the quintessential romantic, made social and political comment in verse in his columns in Taliba and spoke strongly for liberation and justice in his allegorical awit Sa Dakong Silangan (At the Eastern Land). Alejandro G. Abadilla, on the other hand, fought against social and artistic conventions, insisting on sincerity and the real self. His experimentation with free verse (as against the traditional rhyme and meter ofTagalog poetry) prepared the way for its acceptance and use by later poets. The poets who followed them learned from both the romantic and social schools, as well as from T. S. Eliot, Mao Zedongs Talks at the Yennan Forum, the imagists and symbolists, the Latin Americans and other trends in literature of the East and the West. It is among those writing in Philippine languages that one hears especially strongly the strains of current reality, protests against poverty and injustice, and a sensitive understanding of the waves of Philippinehistory and the strata of Philippine society. In their mother tongues we hear the voice of conscience, concern and commitment. Emmanuel Lacaba started as a talented university poet writing in English, bringing to a focus in highly complex, allusive, hermetic, obscure poems his courses and readings in British, American and European poetry. In 1970, like many other young

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writers caught up in the nationalist movement, he not only began to write increasingly in Filipino, but also took to the hills. When he was killed in Davao del Norte in 1976, he was 27. Ramon C. Sunico has a background in philosophy, literature, art history and book publishing. He started to write poetry in English because that was how he had learned poetry, then in Filipino because that was what he spoke and how he felt, and now writes (sometimes the same poem) in both, representing the contemporary poet to whom both languages are natural, speaking equally of his self and his surrounding reality. Tomas F. Agulto is both a fisherman from Hagonoy, Bulacan and a published and prizewinning poet. In this poem to his wife, the traditional expression and sentiment vibrate with current reality. Ruth Elynia S. Mabangio is concerned both with creative writing and the development of language. She writes in Filipino, in the voice of a woman/citizen.

III.

Societal Implications
Philippine literature today continues in English and even in Spanish, but especially in the countrys own languages. Oral forms of literature continue their social function in cultural communities. Poetry and fiction are being written in Cebuano, Tagalog, llocano, llonggo, Pampango, Waray, Bicolano and the other vernacularsvery actively in some, in a waning mode in others where there are no publication venues. Writing is most lively in Tagalog, Cebuano and the evolving Filipino.

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Philippine literature, in all its languages, is in constant and cogent contemporary use: in classrooms; in handwritten, passedon drafts and in print; on radio, television and film; in song, dance and theater; in written and oral expression; in many forms and languages; in various settings and for a myriad purposesits past, present and future coexisting in the national context.

IV.

Bibliography
Abueg, Efren R. et al. Mga Agos sa Disyerto [1964]. Manila: National Book Store, Inc., 1974. Abueg, Efren R., ed. Parnasong Tagatog ni A. G. Abadilla [1949]. Manila: M.C.S. Enterprises, 1973. Almario, Virgilio S., ed. Walong Dekada ng Makabagong Tulang Pilipino. Manila: Philippine Education Co., Inc., 1981. Ani, Literary Journal of the Cultural Center of the Philippines . Tomo I, Marso 1987; I, 3, September 1987; I, 4, December 1987. Baltazar, Francisco. Florante at Laura [Text of 1875], Anthology of Asean l.iteratures: Philippine Metrical Romances . Manila: ASEAN Committee on Culture and Information, 1985. De Castro, Modesto. Pag Susulatan nang Dalauang Binibini na si Urbana at ni Feliza na Nagtuturo ng Mabuting Kaugalian . Manila: Imprenta y Libreria de J. Martinez, 1864. Dumol, Paul Arvisu. Kabesang Tales, Sagisag, I, 3, Hulyo 1975, 19-38. Eugenio, Damiana L. Awit and Corrido: Philippine Metrical Romances. Quezon City: University of the Philippines Press, 1987. Philippine Folk Literature, An Anthology . Quezon City: The University of the Philippines Folklore Studies Program and The UP Folklorists, Inc., 1982. Fernandez, Doreen G. Ten Hiligaynon Poems: Translations and an Introduction. Philippine Studies 21 (1973) : 187-205. Gener, Teodoro. Duplot Balagtasan. Publications of the Institute of National Language, VI, 8, June 1948. Manila: Bureau of Printing, 1949. Ileto, Reynaldo Clemea. Pasyon and Revolution: Popular Movements in the Philippines, 1840-1910. Quezon City: Ateneo de Manila University Press, 1979.

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Javellana, Rene B., S.J. Casaysayan nang Pasiong Mahal ni Jesucristong Panginoon Natin na Sucat lpag-alab nang Puso nang Sinomang Ba basa, with an Introduction, Annotations and Translation of the 1882 edition . Quezon City: Ateneo do Manila University Press, 1988. Jesus, Jose Corazon de. Sa Dakong Silangan. Manila: P. Sayo Bookstore, 1947. Joaquin, Nick. Collected Verse. Quezon City: Ateneo de Manila University Press, 1987. Lacaba, Emmanuel. Salvaged Poems. Manila: Salinlahi Publishing House, 1986. Lopez, Salvador P. Literature and Society, Essays on Life and Letters [19401]. Manila: University Book Supply, 1961. Luangco, Gregorio C., ed. Waray Literature: An Anthology of Leyte-Samar Writings. Tacloban City: Divine Word University Publications, 1982. Lucio y Bustamante, Miguel. Si Tandang Basio Macunat. Manila: Imp. de los Amigos del Pais, 1885. Lumbera, Bienvenido and Cynthia Nograles-Lumbera. Philippine Literature: A History and Anthology . Manila: National Book Store, 1982. Lumbera, Bienvenido L. Tagalog Poetry 1570-1898. Quezon City: Ateneo de Manila University Press, 1986. Manuel, E. Arsenio, recorder and translator. Tuwaang Attends a Wedding. Quezon City: Ateneo de Manila University Press, 1975. Mojares, Resil B. Origins and Rise of the Filipino Novel: A Generic Study of the Novel Until 1940 . Quezon City: University of the Philippines Press, 1983. [Pernia], Marjorie Evasco. Dreamweavers. Manila: Editorial and Media Resources Corporation, 1987. Postma, Antoon, S.V.D. Treasure of a Minority. Manila: Arnoldus Press, 1972. Realubit, Maria Lilia F. Bikols of the Philippines . City of Naga: A.M.S. Press, 1983. Reyes, Edgardo M. Sa Mga Kuko ng Liwanag [1968]. Manila: De La Salle University Press, 1986.

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Rizal, Jose. The Complete Poems and Plays of Jose Rizal. Translated by Nick Joaquin. Manila: Far Easten University, 1976. El Filibusterismo. Primera Reimpresion en Filipinas de la Edicion Principe Publicada en Gante, Belgica, 1891. Quezon City. R. Martinez & Sons. 1958. El Filibusterismo. Translated by Leon Ma. Guerrero. London: Longman Group Ltd., 1965. Salanga, Alfrredo Navarro et al, ed. Kamao: Panitikan ng Protesta 1970-1986. Manila: Cultural Center of the Philippines, 1987. Sunico, Ramon C. The Secret of Graphite: Poems in 2 Tongues. Augsburg: Maro Verlag und Druck, 1989. Torres, Emmanuel, ed. An Anthology of Poems 1965/1974. Manila: Bureau of National and Foreign Information, Department of Public Information, 1975. Villa, Jose Garcia. Florentino, 1965. The Essential Villa. Manila: Alberto S.

Zapanta-Manlapaz, Edna. Kapampangan Literature: A Historical Survey and Anthology. Quezon City: Ateneo de Manila University Press, 1981.

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Philippine Literature and Beyond

Identifying Key Element in its Continuity

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In Partial Fulfillment of the Requirements Of Lit 1 (Literature of the Philippines)

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Submitted to: Prof. Celia Parcon Division of Humanities College of Arts and Sciences University of the Philippines Visayas _______________________________

Submitted by: Jaffy Bratt R. Mandawe B.S.B.A (Marketing) IV College of Management University of the Philippines Visayas

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