Philippine Pre - Colonial Literature

http://arjaytheteacher.blogspot.com/2009/01/philippine-pre-colonial-literature.html

I. Historical Background
The variety and abundance of Philippine literature evolved even before the colonial periods. Folk tales, epics, poems and
marathon chants existed in most ethno linguistic groups that were passed on from generation to generation through word
of mouth. Tales associated with the Spanish conquest also took part in the country’s 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.

Below are examples of ethno-epics popularized by different ethnic groups in the country:

Biag ni Lam-ang (Life of Lam-ang) of the Ilocanos narrates the adventures of the prodigious epic hero, Lam-ang who
exhibits extraordinary powers at an early age. At nine months he is able to go to war to look for his father’s killers. Then
while in search of lady love, Ines Kannoyan, he is swallowed by a big fish, but his rooster and his friends bring him back
to life.

The Agyu or Olahing of the Manobos is a three part epic that starts with the pahmara (invocation) then the
kepu’unpuun ( a narration of the past) and the sengedurog (an episode complete in itself). All three parts narrate the
exploits of the hero as he leads his people who have been driven out of their land to Nalandangan, a land of utopia where
there are no landgrabbers and oppressors.

Sandayo, of the Subanon tells of the story of the hero with the same name, who is born through extraordinary
circumstances as he fell out of the hair of his mother while she was combing it on the ninth stroke. Thence, he leads his
people in the fight against invaders of their land and waterways.

Aliguyon or the Hudhud of the Ifugaos tells of the adventures of Aliguyon as he battles his arch enemy, Pambukhayon
among rice fields and terraces and instructs his people to be steadfast and learn the wisdom of warfare and of
peacemaking during harvest seasons.

Labaw Donggon is about the passionate exploits of the son of a goddess Alunsina, by a mortal, Datu Paubari. The
polygamous hero battles the huge monster Manaluntad for the hand of Abyang Ginbitinan; then he fights Sikay
Padalogdog, the giant with a hundred arms to win Abyang Doronoon and confronts the lord of darkness, Saragnayan, to
win Nagmalitong Yawa Sinagmaling Diwata.

Other epics known to most Filipinos are the Ibalon of Bikol, Darangan which is a Muslim epic, the Kudaman of Palawan,
the Alim of the Ifugao, Bantugan of the Maranao, the Hinilawod of Panay, and the Tuwaang of Manobos. The Tagalogs
pride their Myth of Bernardo Carpio, a folk hero said to hold the mountains of San Mateo apart with his powerful arms to
prevent them from colliding.

There are shorter narratives that tell the origins of the people, the stars, the sky and the seas. A famous story that tells of
the origin of man and woman is that of Malakas (man) and Maganda (woman) who came out of a bamboo after being
pecked by a bird. This and other stories of equal birthing of man and woman throughout the archipelago assert a
woman’s equal position with a man within the tribal systems.

II. Literary Forms during the Pre-colonial Period

A. Myths - Mythology, body of myths of a particular culture, and also the study and interpretation of myth. Myth is a
complex cultural phenomenon that can be approached from a number of viewpoints. In general, myth is a narrative that
describes and portrays in symbolic language the origin of the basic elements and assumptions of a culture. Mythic
narrative relates, for example, how the world began, how humans and animals were created, and how certain customs,
gestures, or forms of human activities originated. Almost all cultures possess or at one time possessed and lived in terms
of myths. Myths are traditional stories occurring in a timeless past. They involve supernatural elements and are beyond
the frontiers of logic. Long ago, when our ancestors heard the sound of thunder and saw lightning, they were frightened
because they could not understand why these things happened. In order to understand these and other natural events,
they created stories. The stories were handed down from generation to generation all over the country. Although myths
are not based on objective truth, they reflect both universal worries and the worries of specific cultures.

World literature: In the cold northern countries, where the sun disappears almost completely during the winter season,

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great fires were lit in the midwinter to help the sun to be reborn. The ancient Greeks tell a myth in which Prometheus
stole fire from Zeus, the chief god, and gave it to humans so that they could keep themselves warm. To punish him, Zeus
chained Prometheus to a rock where his liver was eaten by an eagle every day but grew again every night.

1. Myths from the Different Regions of the Philippines

a. Iloko

The Gods and the Goddesses

Cabalangegan was a formerly a jungle at the edge of the river Abra. On the far side of the river were mountains, high
and steep. On these mountains lived an old man named Abra, the father of Caburayan. The old man controlled the
weather. It is said that the river Abra was covered by a gathering of water vapor at night, and during the days, it was
always bright with sunlight.
At that time, Anianihan, god of harvests, was in love with Caburayan, goddess of healing. Her mother, Lady Makiling,
knew about their mutual attraction, but Abra did not know it because the three were afraid to tell him since he might
punish them as he disapproved of Anianihan. Abra wanted his daughter to marry either Saguday, god of the wind, or
Revenador, god of thunder and lightning. This being so, Anianihan took Caburayan from her home. Abra wept a great
deal. He sent Lady Makiling away after beating her.
When Abra was alone, he wept day and night till Bulan, god of peace and calm, came. Though Bulan was there to
brighten Abra's spirits, Abra did not stop weeping. He could not express his anger. He begged the other gods to bring
back his daughter.
One day the sun, eye of Amman, shone so brightly that the water of the river Abra was excessively heated. Smoke rose
from the river. Soon, thick, black clouds began to darken the sky. Then Saguday sent the strongest wind until the crowns
of the trees brushed the ground. The god Revenador sent down the largest strings of fire. The heaviest rains fell. All
these frightful events lasted seven days. The river Abra then rose and covered the trees. There rose a vast body of water
until only the highest part of the mountain could be seen. It looked like a back of a turtle from a distance. This was the
spot where Abra lived.
On the seventh day, Abra heard a cry. He also heard a most sorrowful song. Abra dried his tears and looked around, but
he saw no one. He was determined to find Maria Makiling, his grandchild. He did not find her, for the cries of the baby
stopped.
The search for the baby lasted three full moons but to no avail, and the poor old man returned to his home very sad. He
lost all hope; his wits were gone. At that time Maria Makiling was under the care of the fierce dog, Lobo, who was under
a god of the Underworld. He had been punished by the other gods, and that is why he looked like a fierce dog. He was
sent down to do charity.

b. Ibanag

Why There is High Tide during a Full Moon

Long, long ago only gods lived in this world, the earth, seas, and sky were ruled by three different powerful gods.The sun
god, who ruled the sky, had a very beautiful daughter, Luna, the moon. Luna enjoyed going around the heavens in her
golden chariot. One day she found herself taking another path which led her outside her kingdom. She wandered on until
she reached the place where the sky met the sea. Beautiful and unusual sights greeted her eyes. As she was admiring the
beautiful things around, a voice startled her. It asked, "Where has thou come from, most beautiful one?"
Turning around she saw a young man who looked much like her father though fairer. She wanted to run away, but when
she looked at him again, she saw that he was smiling at her. Taking courage she answered, "I am Luna, daughter of the
sun god."
The young man smiled at her and answered, "I am Mar, the son of the sea god. Welcome to our kingdom." Soon the two
became good friends. They had many interesting stories to tell each other. When it was time for Luna to go, they
promised to see each other as often as they could, for they have many more tales to tell. They continued meeting at the
same spot until they realized that they were in love with each other.
One day after one of their secret meetings, Luna went back to the heavens full of joy. She was so happy that she told her
secret to one of her cousins. The cousin, jealous of her beauty and her happiness, reported the affair to the sun god. The
sun god was angered at his daughter's disobedience to the immortal laws. He shut her in their garden and did not allow
her to get out. Then he sent a messenger to the sea god informing him that his son Mar disobeyed the immortal law. The
sea god, who was also angered by his son's disobedience, imprisoned him in one of his sea caves.
Luna stayed in the garden for some time. She was very sad at not being able to see Mar. She longed to be with him
again. Feeling very restless one day, she escaped from the garden. She took her golden chariot and rushed to their
meeting place. Mar, who was imprisoned in the sea cave, saw her reflection on the water. He wanted to get out to meet
her. He tried hard to get out of his cave causing unrest in the sea. Luna waited for Mar to appear, but he did not come.
Then she went back home very sad. Each time she remembered Mar, she would rush out in the golden chariot to the

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meeting place in hopes of seeing him again.
The fishermen out in the sea believe that each time Luna, the moon, appears, the sea gets troubled. "It is Mar trying to
escape from his cave," they say.

c. Ifugao

Why the Dead Come Back No More

A very long time ago, there lived a very kind woman with her three little children. She loved her children so much that
she worked hard to be able to feed them.
One day she fell ill, and in a short time she died. Her spirit went to Kadungayan, of course, as she lived a good life, but
one night she thought of her poor little children whom she left on earth. She imagined that no one cared for them and
that they must be hungry and cold. She pitied them so much that she decided to go back to earth.
When she reached their house, she called her eldest child to open the door for her. The children recognized their
mother's voice and opened the door at once. She went in and spoke to them, but they could not see her because it was
so very dark and their fire had gone out. The children had not built a fire since their mother died. The children were too
small, and they did not know how to build one.
So the woman sent her eldest child to beg for fire from the neighbors as she felt very cold. The poor child went to the
first house, but when she told them that she wanted fire for her mother who had come back home, the people just
laughed at her. They did not give her fire. She went to the next house, but the same thing happened. Thus, she went to
the next house, from house to house, but no one believed that her mother had come back. They thought the poor child
had gone out of her mind. So the poor child went home without fire. The woman was very angry with all the unkind
people. She said, "Am I to die a second death because men are so selfish? Come, my children, let us all go to that better
place where I came from - Kandungayan. There are no selfish people there."
She took a jar of water and went outside in the yard. She shouted to all the people, "Ah, what selfish people you all are.
From this time on all people will follow my example. No man will ever come back again to earth after death." With these
words she smashed the jar on a big stone. This made a horrible sound. All the people became silent with fear.
The next morning the people came out to see what had caused the great voice. They saw the bits of broken jar and they
found the three children dead. They now knew that the woman had really come back home that night and that in her
anger at their selfishness had taken her three children with her. The people were so sorry for not having given fire to the
little girl.
Since then no dead person has ever come back to earth.

d. Tagalog
Mag-asawang Tubig

In the olden days, there was a small town in which few farmers' families lived. Among them was the couple known as Ba
Imo and Ba Sinta. They were well liked and respected in that place, for although they were well off, they were humble
and generous.
One day Bathala put them to the test. A beggar in tattered clothes came to their house and asked for lodgings. The
couple very hospitably welcomed their guest and even joined him for a meal at their table. To the great amazement of
the couple, although they had been eating for some time, the food at the table did not decrease. Realizing that their
guest was God, the couple knelt before him and prayed. The old man blessed them. In their prayer, the couple asked
that they may die at the same time, so that neither of them would experience grief and loneliness which would surely
happen if one of them died first.
God granted the wish of the couple. They died at the same time and were buried in adjoining graves. Not long
afterwards, a brook sprang from their graves. This later grew and grew until it became a river, which was named Mag-
asawang Tubig in memory of the loving couple.

e. Bukidnon (Mindanao)

How the Moon and the Stars Came to Be

One day in the times when the sky was close to the ground a spinster went out to pound rice. Before she began her
work, she took off the beads from around her neck and the comb from her hair, and hung them on the sky, which at that
time looked like coral rock.
Then she began working, and each time that she raised her pestle into the air it struck the sky. For some time she
pounded the rice, and then she raised the pestle so high that it struck the sky very hard.
Immediately the sky began to rise, and it went up so far that she lost her ornaments. Never did they come down, for the
comb became the moon and the beads are the stars that are scattered about.

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B. Legend (story) - traditional narrative or collection of related narratives, popularly regarded as historically factual but
actually a mixture of fact and fiction. The medieval Latin word legenda means “things for reading”. During certain services
of the early Christian Church, legenda, or lives of the saints, were read aloud. A legend is set in a specific place at a
specific time; the subject is often a heroic historical personage. A legend differs from a myth by portraying a human hero
rather than one who is a god. Legends, originally oral, have been developed into literary masterpieces. Legends are
stories about real people who are famous for doing something brave or extraordinary. Every time the story was told, it
became more exaggerated and so it is now difficult to tell how much of the story is really true.

World Literature: One of the greatest legendary figures in Britain is King Arthur. He was the son of King Uther
Pendragon, a Celtic King. King Uther gave his child to Merlin the wizard. Merlin taught Arthur everything he knew so that
he could become a great king. When King Uther died, Merlin stuck a sword into a rock and said, ‘This sword is in the
stone by magic. Only the true king will be able to pull it out’. Many men tried but none succeeded. When Arthur tried, the
sword slipped out easily. Arthur was made king. He went on to found the Round Table, an order to knights who became
famous for fighting the wicked and helping the poor.

Legends from the Philippines

The Legend of the Sleeping Beauty

Kalinga

In those days, tribes were not in good terms with each other. Tribal wars were common.
There was a man in Tinglayan called Banna, who had extraordinary bravery and strength. He had an unusual charm so
people look up to him for leadership. He was also a very good "ullalim" singer.
One day Banna realized that he needed a life time partner, someone to share his life with, so he went in search for a
wife. Since there were no eligible women in his barrio he decided to ascend Mount Patukan, a mountain east of Tinglayan
and go to the sitio of Dacalan, Tanudan.
While it was still daylight, he stopped and rested under a big tree at a distance away from the village so that no one could
see him. This is because he might provoke trouble by his presence.
When night came, Banna slowly went down nearer to the village and searched for a place to observe. After some time,
he heard a soft, melodious female voice singing the ullalim. He was drawn to the voice and moved closer to the hut.
Peeping, he saw the most beautiful woman he had ever set eyes on. Long, wavy hair, dark, fringed eyes, and a voice that
grew sweeter and sweeter as he drew closer to the hut. Banna was mesmerized...captivated by the lyrical voice. The
leaves of the trees around him seemed to be dancing in unison with the woman's ululations.
He knew it was extremely dangerous for him to reveal himself inside the village territory, but his burning desire to meet
the woman, was stronger than his sense of survival.
He knocked boldly at the "sawali" (bamboo made) walls of the hut.
" Anna tago," (Someone's here.)
" Umma sanat?" (Who is it?), the singing stopped, but the spoken words were the most appealing sound Banna had ever
heard.
" This is Banna" from Tinglayan.
He heard hurried movements from the house, then a male voice spoke harshly, "What do you need?"
The natives were very protective of their women and properties, and Banna knew that he could get killed by his boldness.
"I don't mean any harm, I come in peace. I would like to meet the woman who sings the ullalim with passion."
The family was so nervous of letting a stranger in the house and had urged him to go home instead. But Banna was
persistent and had refused to go.
Dongdongan - the father of the woman - slowly opened the door and saw a young, handsome man standing like a
sentinel at the door. He repeated his plea for Banna to leave but the stance of the Banna indicated, he would not be
budged from where he stood. So, he reluctantly let him in.
"I am Banna from Tinglayan"
Once inside the house, as dictated by tradition, Dongdongan handed Banna a bowl of water. It was an old tradition that
once a stranger is accepted into a house, it is also understood that he will be protected and kept safe by the host family.
As a symbol of this unwritten agreement, the stranger would be given a drink of water. This is called "paniyao". If a
stranger is not given one, then it denotes an existing hostility which may result to a deadly fight if the stranger does not
leave immediately.
The second phase of the ritual continued. Dongdongan offered Banna the "buyo" - a bland, powder which when chewed
with certain leaves would produce red tinged saliva. This concoction is called "moma".
Ullalim was the official means of communication then so they sang as they talked. Banna too had a strong, masculine
voice and it was apparent he could sing well.
In his ullalim Banna revealed his search for a wife. Dongdongan introduced him to her daughter, Edonsan, who readily
accepted Banna's handshake.
Banna, then and there proposed to Edonsan. Edonsan in turn, accepted the proposal and there was a flurry of activity, as

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all the village folk were invited to a meeting and then a "canao" (festivities with dancing and singing). Banna and
Edonsan dance the "salidsid" (courtship dance) to the tempo of the gongs, while the community participated in the
"tadok" (dance for all). The celebration lasted the whole day, with everyone in the village participating. No one had gone
to the fields and to the kaingin as people usually did. The village people were the witnesses to the exchange of vows
between the two. There were no officiating priests or Judges, no official documents to sign, but the vows were always
kept and were considered sacred by everyone in the village.
Tradition also dictated that Banna had to stay with Edonsan's family for 7 days to prove his sincerity and purity of
intention. Banna and Edonsan had their honeymoon along the slope of the Patokan Mountain picking guavas and wild
strawberries, making love and dropping by the river to catch fish for supper.
In the evening of each day for the seven days that Banna was there, Edonsan took Banna to each of her relative's house.
It is considered good luck to do so, as it is believed that the blessings and approval of relatives are vital to the happiness
of the couple.
At the end of the 7th day, the couple prepared to leave for Banna's village where they will establish residence. The
parents of Edonsan and the village people prepared native cakes and tobacco as gifts for the departure of the newly
married couple.
As dawn broke, the village people came together to see them off. The two left happily, with their hands entwined against
each other. The trail was adorned with guavas and strawberries and they had a handful as they trek towards the summit
of Patokan. It took them 8 arduous hours to get to the top.
As soon as they reached the top, they heard unusual noises coming from Banna's village which was a few miles below
them.
Banna had a premonition that it was something dangerous so he instructed Edonsan to stay put and wait for him. He was
going down to his village to investigate the cause of the ruckus.
Banna ran all the way down to the village. As soon as he was seen by the village people, a cheer reverberated in the air.
He was informed hastily that their village was under siege and that his leadership was needed to drive the trespassers
away.
The bloody, face to face encounter of the two warring tribes went on for hours, spears and bolos clashed against each
other as more bodies piled up in between the cluster of the nipa huts. The great number of the invading tribe slowly
weakened Banna's men. One by one they fell, bloodied, to the ground. He could not possibly go back to Edonsan, Banna
thought. He would fight up to his very last breath - but he had to make sure Edonsan does not come down to the village.
Hastily, he instructed one of his men to warn Edonsan, but the man never made it far. He and Banna were
simultaneously wounded and fell bleeding to the ground. Banna died with his spear in his hand and his last vision was the
face of Edonsan .
Edonsan, on the other hand, waited and waited...and waited. But there was no Banna to take her home. She was weak
from weariness and heartache. She had no desire to live without her Banna.
When it was evident, Banna was not coming for her, she slowly crumpled to the grassy- matted forest and wept
uncontrollably. Tears flowed down from her cheeks as she grew weaker and weaker and the tears flowed more and more
copiously.
Night came and Banna had not returned yet...and Edonsan had grown weak with grief and fatigue, her breath slowly
coming out in gasps... until she closed her eyes and breathed her last.
On the spot where her body was laid to rest, sprang two waterfalls which are believed to be the tears of Edonsan.
In Tinglayan, one can clearly see from a distance, the beautifully, shaped body of a reclining woman.
And that is the legend of "The Sleeping Beauty" folks, as handed down orally, from one generation to another.
As the story is passed on, additions and omissions are done by each set of generation. What is important is that the
undying love of Banna and Edonsan will always be remembered by the people of Kalinga.

Legend of the Dama de Noche

A thousand years ago, there was a rich maharlika, or nobleman, who spent his early bachelor days recklessly, wining and
dining in the company of nobility. He drank the finest wines, ate the most delectable food and enjoyed the company of
the loveliest, perfumed and bejewelled women of the noble class.
After years of this kind of life, the maharlika finally felt it was time to settle down and marry the woman of his choice.
"But who is the woman to choose?" he asked himself as he sat in the rich splendour of his home, "All the women I know
are beautiful and charming, but I am tired of the glitter of their jewels and the richness of their clothes!" He wanted a
woman different from all the women he saw day and night, and found this in simple village lass. She was charming in her
own unaffected ways, and her name was Dama.
They married and lived contentedly. She loved him and took care of him. She pampered him with the most delicious
dishes, and kept his home and his clothes in order. But soon, the newness wore off for the maharlika. He started to long
for the company of his friends. He took a good look at his wife and thought, she is not beautiful and she does not have
the air of nobility abouther, she does not talk with wisdom. And so the maharlika returned to his own world of glitter and
splendor. He spent his evenings sitting around with his friends in their noble homes , drank and talked till the first rays of
the sun peeped from the iron grills of their ornate windows.

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Poor Dama felt that she was losing her husband. She wept in the silence of their bedroom. "I cannot give my husband
anything but the delights of my kitchen and the warmth of my bed. He is tired of me." She looked to the heavens. "Oh,
friendly spirits! Help me. Give me a magic charm. Just one little magic charm to make my husband come home again,
that he will never want to leave my side, forever!"
It was midnight when the maharlika came home. He opened the door of their bedroom and called for Dama to tell her to
prepare his nightclothes. "Dama! Dama, where are you?" he called. He shouted all around the bedroom. He sarched the
whole house. Still the nobleman could not find his simple wife. Finally the nobleman returned to their bedroom, tired and
cross. But, as he opened the door, he stopped.
He smelled a very sweet and fragrant scent. It was a scent he had never smelled before. He entered the room and
crossed to the window where the scent seemed to be floating from. A strange bush was growing outside the window.
Some of its thin branches had aleady reached the iron grills and were twisting around. And all over the bush were
thousands of tiny starlike, white flowers, from which burst forth a heavenly, enchanting scent!
He stood there, completely enraptured by the glorious smell. "Dama..." he whispered softly, onderingly, could this be
Dama? The rich maharlika sat by the window, and waited for the return of his loving simple wife. But she did not come
back. She never returned to him again. Only the fragrance of the flowers stayed with him, casting a spell over his whole
being.
In the moonlight, Dama of the night, or Dama de Noche would be in full bloom, capturing the rich maharlika, making him
never want to leave her side, forever.

The End.

Legend of the Banana Plant

In the early days when the world was new, spirits and ghosts lurked everywhere. They lived in gloomy caves, they hid in
anthills and tree trunks they frolicked in nooks and corners under the houses. In the dark, sometimes their tiny voices
could be heard dimly, or their ghostly presence be felt. But they were never seen.
It was during these days of phantoms and unseen spirits that a young and beautiful girl lived. Her name was Raya, and
she was a girl bold and daring. She was never afraid of spirits. She would walk in the shadowy forests, bringing along a
lighted candle.
Then she would tiptoe into dark and dirty caves, searching the place for spirits. Raya only felt or heard them never having
seen them. But Raya always felt the presence of one kind spirit, whenever she walked in the forest the spirit was with her
at all times.
One day she heard someone call her name, and she looked up to see a young handsome man. She asked him who he
was, and he replied that his name was Sag-in, and he was the spirit who followed her around, and even confessed that
he had fallen in love with a mortal.
They married had a child and lived happily, but Sag-in knew that his time on earth was short for he was a spirit-man, and
would have to return to the spirit world soon. When he knew his time had come, he called Raya and explained why he
had to leave. As he was slowly vanishing, he told Raya that he would leave her a part of him. Raya looked down and saw
a bleeding heart on the ground. She took the heart and planted it. She watched it night and day. A plant with long green
leaves sprouted from the grave.
One day, the tree bore fruit shaped like a heart. She touched the fruit and caressed it. Thinking could this be Sag-in's
heart? Slowly the fruit opened , Long golden fruits sprouted from it. Raya picked one, peeled it and bit into it. Then, she
heard Sag-in's voice floating in the air:
"Yes, Raya, it is my heart. I have reappeared to show you that I will never forsake you and our child. Take care of this
plant, and it will take care of you in return. It's trunk and leaves will give you shelter and clothing. The heart and fruits
will be your food. And when you sleep at night, I will stand and watch by your window. I will stay by your side forever!"
The End.

Legend of the Firefly

Fireflies!
Lovely little creatures, glittering, sparkling, throwing fragments of light in the dark night skies. How did the fireflies or
alitaptap come about?
Once, along time ago, in the valley of Pinak in Central Luzon, one of the islands in the Philippines. There was a deep large
lake rich with fish. There, the people of Pinak fished for their food, and always, there was plenty for all. Then suddenly,
the big river dried up. In the shallow mud, there wasn't a fish to catch. For months, there were no rains. Out in the fields,
the land turned dry. The rice-stalks slowly withered. Everywhere in Pinak, there was hunger. Night after night, the people
of Pinak prayed hard.
"Dear Bathala," they would recite together in their small and poorly-built chapel, “send us rains, give us food to eat. For
the people are starving, and there is want among us!"
Then one black and starless night, the good Bathala answered the prayers of the faithful people of Pinak. For suddenly up

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in the dark skies appeared a blaze of gold! A beautiful chariot of gold was zooming thru the sky. The people started to
panic but a big booming voice came from the chariot soothing them with words.
" I am Bula-hari, and I have come with my wife, Bitu-in. We are sent to the heavens to rule Pinak from now on. We have
come to give you good life!" As Bulan-hari spoke, the black skies burst open. The rain fell in torrents. Soon the dry fields
bloomed again. The large lake rose and once again was filled with fish. The people were happy once more under the
rulership of Bulan-hari.
Soon Bulan-hari and Bitu-in had a daughter. She grew up to be a beautiful maiden. Such long dark hair! Such lovely eyes
under long curling lashes! Her nose was chiselled fine. Her lips like rosebuds. Her skin was soft and fair like cream. They
named her Alitaptap for on her forehead was a bright sparkling star.
All the young, brave handsome men of Pinak fell in love with Alitaptap. They worshipped her beauty. They sang songs of
love beneath her windows. They all sought to win her heart.
But alas! The heart of Alitaptap wasn't human. She was the daughter of Bulan-hari and Bitu-in, who burst from the sky
and were not of the earth. She had a heart of stone, as cold and as hard as the sparkling star on her forehead. Alitaptap
would never know love.
Then one day, an old woman arrived at the palace. Her hair long and dirty. Her clothing tattered and soiled. Before the
king Bulan-hari, Balo-na, the old, wise woman whined in her sharp voice... that she had come from her dwelling in the
mountains to bear the king sad news. The news being that she saw the future in a dream and it betold of their fate... the
warriors of La-ut are coming with their mighty swords to conquer the land, the only solution is to have a marriage
between Alitaptap and one of the young men, so as to have a heir to win the war.
At once Bulan-hari pleaded with his daughter to choose one of the young men in their village. But how could the beautiful
maiden understand? Alitaptap's heart of stone merely stood in silence. Bulan-hari gripped his sword in despair... "
Alitapatap!" he bellowed in the quiet palace, "You will follow me, or you will lay dead this very minute!"
But nothing could stir the lovely young woman's heart. Bulan-hari blind with anger and fear of the dark future finally drew
his sword. Clang! the steel of his sword's blade rang in the silence of the big palace. It hit the star on Alitaptap's lovely
forehead!
The star burst! Darkness was everywhere! Until a thousand chips of glitter and light flew around the hall. Only the
shattered pieces of the star on Alitaptap's forehead lighted the great hall, flickering as though they were stars with tiny
wings.
Alitaptap, the lovely daughter from the heavens lay dead.
And soon, Balo-na's prediction had come true. Riding in stamping wild horses, the warriors of La-ut came like the rumble
and clashes of lightning and thunder. They killed the people of Pinak, ruined crops, and poisoned the lake. They spread
sorrow and destruction everywhere.
When it all ended, the beautiful, peaceful valley of Pinak had turned into an empty and shallow swamp. At night, there
was nothing but darkness. But soon, tiny sparkles of light would flicker and lend glimmers of brightness in the starless
night.
And so, the fireflies came about. Once, a long time ago, they were fragments from the star on the forehead of Bulan-
hari's daughter, the beautiful Alitaptap.

Precolonial Period
https://esielcabrera.wordpress.com/2016/02/26/philippine-literature-during-pre-colonial-period/

Filipinos often lose sight of the fact that the first period of the Philippine literary history is the longest.
Certain events from the nation’s history had forced lowland Filipinos to begin counting the years of
history from 1521, the first time written records by Westerners referred to the archipelago later to be
called “Las Islas Filipinas”. However, the discovery of the “Tabon Man” in a cave in Palawan in 1962,
has allowed us to stretch our prehistory as far as 50,000 years back. The stages of that prehistory
show how the early Filipinos grew in control over their environment. Through the researches and
writings about Philippine history, much can be reliably inferred about precolonial Philippine literature
from an analysis of collected oral lore of Filipinos whose ancestors were able to preserve their
indigenous culture by living beyond the reach of Spanish colonial administrators.

The oral literature of the precolonial Filipinos bore the marks of the community. The subject was
invariably the common experience of the people constituting the village-food-gathering, creature and
objects of nature, work in the home, field, forest or sea, caring for children, etc. This is evident in the
most common forms of oral literature like the riddle, the proverbs and the song, which always seem to
assume that the audience is familiar with the situations, activities and objects mentioned in the course
of expressing a thought or emotion. The language of oral literature, unless the piece was part of the
cultural heritage of the community like the epic, was the language of daily life. At this phase of literary
development, any member of the community was a potential poet, singer or storyteller as long as he
knew the language and had been attentive to the conventions f the forms.

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Thousands of maxims, proverbs, epigrams, and the like have been listed by many different collectors
and researchers from many dialects. Majority of these reclaimed from oblivion com from the Tagalos,
Cebuano, and Ilocano dialects. And the bulk are rhyming couplets with verses of five, six seven, or
eight syllables, each line of the couplet having the same number of syllables. The rhyming practice is
still the same as today in the three dialects mentioned. A good number of the proverbs is conjectured
as part of longer poems with stanza divisions, but only the lines expressive of a philosophy have
remained remembered in the oral tradition. Classified with the maxims and proverbs are allegorical
stanzas which abounded in all local literature. They contain homilies, didactic material, and
expressions of homespun philosophy, making them often quoted by elders and headmen in talking to
inferiors. They are rich in similes and metaphors. These one stanza poems were called Tanaga and
consisted usually of four lines with seven syllables, all lines rhyming.

The most appreciated riddles of ancient Philippines are those that are rhymed and having equal
number of syllables in each line, making them classifiable under the early poetry of this country.
Riddles were existent in all languages and dialects of the ancestors of the Filipinos and cover
practically all of the experiences of life in these times.

Almost all the important events in the life of the ancient peoples of this country were connected with
some religious observance and the rites and ceremonies always some poetry recited, chanted, or
sung. The lyrics of religious songs may of course be classified as poetry also, although the rhythm
and the rhyme may not be the same.

Drama as a literary from had not yet begun to evolve among the early Filipinos. Philippine theater at
this stage consisted largely in its simplest form, of mimetic dances imitating natural cycles and work
activities. At its most sophisticated, theater consisted of religious rituals presided over by a priest or
priestess and participated in by the community. The dances and ritual suggest that indigenous drama
had begun to evolve from attempts to control the environment. Philippine drama would have taken the
form of the dance-drama found in other Asian countries.

Prose narratives in prehistoric Philippines consisted largely or myths, hero tales, fables and legends.
Their function was to explain natural phenomena, past events, and contemporary beliefs in order to
make the environment less fearsome by making it more comprehensible and, in more instances, to
make idle hours less tedious by filling them with humor and fantasy. There is a great wealth of
mythical and legendary lore that belongs to this period, but preserved mostly by word of mouth, with
few written down by interested parties who happen upon them.

The most significant pieces of oral literature that may safely be presumed to have originated in
prehistoric times are folk epics. Epic poems of great proportions and lengths abounded in all regions
of the islands, each tribe usually having at least one and some tribes possessing traditionally around
five or six popular ones with minor epics of unknown number.

Filipinos had a culture that linked them with the Malays in the Southeast Asia, a culture with traces of
Indian, Arabic, and, possibly Chinese influences. Their epics, songs, short poems, tales, dances and
rituals gave them a native Asian perspective which served as a filtering device for the Western culture
that the colonizers brought over from Europe.

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 CHRISTINE F. GODINEZ-ORTEGA
http://ncca.gov.ph/subcommissions/subcommission-on-the-arts-sca/literary-arts/the-literary-
forms-in-philippine-literature/

The diversity and richness of Philippine literature evolved side by side with the country’s history.
This can best be appreciated in the context of the country’s pre-colonial cultural traditions and the
socio-political histories of its colonial and contemporary traditions.

The average Filipino’s unfamiliarity with his indigenous literature was largely due to what has
been impressed upon him: that his country was “discovered” and, hence, Philippine “history” started
only in 1521.

So successful were the efforts of colonialists to blot out the memory of the country’s largely oral
past that present-day Filipino writers, artists and journalists are trying to correct this inequity by
recognizing the country’s wealth of ethnic traditions and disseminating them in schools and in the
mass media.

The rousings of nationalistic pride in the 1960s and 1970s also helped bring about this change of
attitude among a new breed of Filipinos concerned about the “Filipino identity.”

Pre-Colonial Times

Owing to the works of our own archaeologists, ethnologists and anthropologists, we are able to
know more and better judge information about our pre-colonial times set against a bulk of material
about early Filipinos as recorded by Spanish, Chinese, Arabic and other chroniclers of the past.

Pre-colonial inhabitants of our islands showcase a rich past through their folk speeches, folk
songs, folk narratives and indigenous rituals and mimetic dances that affirm our ties with our
Southeast Asian neighbors.

The most seminal of these folk speeches is the riddle which is tigmo in Cebuano, bugtong in
Tagalog,paktakonin Ilongo and patototdon in Bicol. Central to the riddle is the talinghaga or metaphor
because it “reveals subtle resemblances between two unlike objects” and one’s power of observation
and wit are put to the test. While some riddles are ingenious, others verge on the obscene or are sex-
related:

Gaddang:

Gongonan nu usin y amam If you pull your daddy’s penis

Maggirawa pay sila y inam. Your mommy’s vagina, too,

(Campana) screams. (Bell)

The proverbs or aphorisms express norms or codes of behavior, community beliefs or they instill
values by offering nuggets of wisdom in short, rhyming verse.

The extended form, tanaga, a mono-riming heptasyllabic quatrain expressing insights and
lessons on life is “more emotionally charged than the terse proverb and thus has affinities with the
folk lyric.” Some examples are the basahanon or extended didactic sayings from Bukidnon and
the daraida and daragilon from Panay.

The folk song, a form of folk lyric which expresses the hopes and aspirations, the people’s
lifestyles as well as their loves. These are often repetitive and sonorous, didactic and naive as in the
children’s songs or Ida-ida(Maguindanao), tulang pambata (Tagalog) or cansiones para
abbing (Ibanag).

A few examples are the lullabyes or Ili-ili (Ilongo); love songs like
the panawagon and balitao (Ilongo);harana or serenade (Cebuano); the bayok (Maranao); the seven-
syllable per line poem, ambahan of the Mangyans that are about human relationships, social
entertainment and also serve as a tool for teaching the young; work songs that depict the livelihood of

9
the people often sung to go with the movement of workers such as
the kalusan (Ivatan), soliranin (Tagalog rowing song) or the mambayu, a Kalinga rice-pounding song;
the verbal jousts/games like the duplo popular during wakes.

Other folk songs are the drinking songs sung during carousals like the tagay (Cebuano and
Waray); dirges and lamentations extolling the deeds of the dead like the kanogon (Cebuano) or
the Annako (Bontoc).

A type of narrative song or kissa among the Tausug of Mindanao, the parang sabil, uses for its
subject matter the exploits of historical and legendary heroes. It tells of a Muslim hero who seeks
death at the hands of non-Muslims.

The folk narratives, i.e. epics and folk tales are varied, exotic and magical. They explain how the
world was created, how certain animals possess certain characteristics, why some places have
waterfalls, volcanoes, mountains, flora or fauna and, in the case of legends, an explanation of the
origins of things. Fables are about animals and these teach moral lessons.

Our country’s epics are considered ethno-epics because unlike, say, Germany’s Niebelunginlied,
our epics are not national for they are “histories” of varied groups that consider themselves “nations.”

The epics come in various names: Guman (Subanon); Darangen (Maranao); Hudhud (Ifugao);
andUlahingan(Manobo). These epics revolve around supernatural events or heroic deeds and they
embody or validate the beliefs and customs and ideals of a community. These are sung or chanted to
the accompaniment of indigenous musical instruments and dancing performed during harvests,
weddings or funerals by chanters. The chanters who were taught by their ancestors are considered
“treasures” and/or repositories of wisdom in their communities.

Examples of these epics are the Lam-

ang (Ilocano); Hinilawod (Sulod); Kudaman (Palawan); Darangen(Maranao); Ulahingan (Livunganen-
Arumanen Manobo); Mangovayt Buhong na Langit (The Maiden of the Buhong Sky from Tuwaang–
Manobo); Ag Tobig neg Keboklagan (Subanon); and Tudbulol (T’boli).

PHILIPPINE LITERATURE https://www.scribd.com/doc/36510088/Philippine-Literary-Periods

I.PRE-COLONIAL PERIOD (--BC to 1564)
A. Characteristics
1.Based on oral traditions
2.Crude on ideology and phraseology
B. Literary Forms
1. Oral Literature
a. Riddles (bugtong) – battle of wits among participants
Tigmo – Cebu Paktakon – Ilonggo Patotdon – Bicol
b.Proverbs (salawikain)– wise sayings that contain a metaphor used to teach as a food for thought
c.Tanaga- a mono-riming heptasyllabic quatrain expressing insights and lessons on life is "more
emotionally charged than the terse proverb and thus has affinities with the folk lyric."

2. Folk Songs
It is a form of folk lyric which expresses the hopes and aspirations, the people'slifestyles as well as
their loves. These are often repetitive and sonorous, didactic and naive
a. Hele or oyayi – lullaby

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 b.Ambahan (Mangyan) – 7-syllable per line poem that are about humanrelationships and social
entertainment
c.Kalusan (Ivatan) - work songs that depict the livelihood of the people
d.Tagay (Cebuano and Waray) – drinking song
e.Kanogan (Cebuano) – song of lamentation for the dead

3. Folk Tales
a. Myths – explain how the world was created, how certain animalspossess certain characteristics,
why some places have waterfalls, volcanoes,mountains, flora or fauna
b. Legends – explain the origin of things
Why the Pineapple Has EyesThe Legend of Maria Makiling
c. Fables – used animal characters and allegory
d.Fantastic stories – deal with underworld characters such as “tiyanak”,“aswang”, “kapre” and others
4. Epics
These are “narratives of sustained length based on oral tradition revolving aroundsupernatural events
or heroic deeds” (Arsenio Manuel)
Examples: Lam-ang (Ilocano) Hinilawod (Panay)
Kudaman (Palawan) Darangen (Maranao)

II. SPANISH COLONIZATION PERIOD (1565 – 1863)

A. Characteristics
1.It has two distinct classifications: religious and secular
2.It introduced Spanish as the medium of communication
B.Literary Forms
1. Religious Literature - Religious lyrics written by ladino poets or those versed inboth Spanish and
Tagalog were included in early catechism and were used toteach Filipinos the Spanish language.
a.Pasyon – long narrative poem about the passion and death of Christ. The mostpopular was “Ang
Mahal na Passion ni Jesu Cristong Panignoon Natin” by Aguino de Belen
b.Senakulo – dramatization of the pasyon, it shows the passion and death of Christ
2. Secular (non-religious) Literature
a.Awit - colorful tales of chivalry made for singing and chantingExample: Ibong Adarna
b.Korido – metrical tale written in octosyllabic quatrains
Example: Florante at Laura by Francisco Baltazar
c. Prose Narratives – written to prescribe proper decorum
i. Dialogo ii.Manual de Urbanidad iii. Ejemplo i iv. Tratado
Examples: Modesto de Castro's "Pagsusulatan ng Dalawang Binibini na si Urbana at si Feliza"
and Joaquin Tuason's "Ang Bagong Robinson" (The NewRobinson) in 1879

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 III. NATIONALISTIC / PROPAGANDA AND REVOLUTIONARY PERIOD(1864 – 1896)
A. Characteristics
1.Planted seeds of nationalism in Filipinos
2.Language shifted from Spanish to Tagalog
3.Addressed the masses instead of the “intelligentsia”
B. Literary Forms
1. Propaganda Literature - Reformatory in objective
a. Political Essays – satires, editorials and news articles were written to attackand expose the
evils of Spanish rule
i.Diariong Tagalog – founded by Marcelo del Pilar
ii.La Solidaridad – whose editor-in-chief is Graciano Lopez-Jaena
b. Political Novels
i. Noli Me Tangere and El Filibusterismo – Jose Rizal’s masterpiecesthat paved the way to
the revolution
2.Revolutionary Literature – more propagandistic than literary as it is moreviolent in nature and
demanded complete independence for the country
a.Political Essays – helped inflame the spirit of revolution
i. Kalayaan – newspaper of the society, edited by Emilio Jacinto
b. Poetry
i. True Decalogue – Apolinario Mabini
ii.Katapusang Hibik ng Pilipinas – Andres Bonifacio
iii.Liwanag at Dilim – Emilio Jacinto
IV. AMERICAN COLONIAL PERIOD (1910 – 1945)
A.Period of Apprenticeship (1910-1930)
1.Filipino Writers imitated English and American models
2.Poems written were amateurish and mushy, which phrasing and diction isawkward and artificial
a.Short Stories
i.Dead Stars – Paz Marquez Benitez
ii.The Key – Paz Latorena
iii.Footnote to Youth – Jose Garcia Villa
b.Novels
i. Childe of Sorrow – first novel in English, by Zoilo Galang
B. Period of Emergence (1920-1930)
1. Highly influenced by Western literary trends like Romanticism and Realism.
a. Short Stories – most prevalent literary form
i. Jose Garcia Villa – earned the international title “Poet of theCentury”
V. JAPANESE OCCUPATION (1942 - 1960)

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A. War Years (1942-1944)
1. Tagalog poets broke away from the Balagtas tradition and insteadwrote in simple language and
free verse
2.Fiction prevailed over poetry
a.25 Pinakamabuting Maikling Kthang Pilipino (1943) – compilation of theshort story contest
by the military government
i. Suyuan sa Tubigan – Macario Pineda
ii.Lupang Tinubuan – Narciso Reyesiii.Uhaw ang Tigang na Lupa – Liwayway Arceo
B.Period of Maturity and Originality (1945-1960)
1.Bountiful harvest in poetry, fiction, drama and essay
2.Filipino writers mastered English and familiarized themselves iwhtdiverse techniques
3.Literary “giants” appeared
a.Palanca Awards for Literature
i.Jose Garcia Villa ii.Nick Joaquin iii.NVM Gonzales
iv.Bienvenido Santos v.Gregorio Brillantes vi.Gilda CorderoFernando
b.National Artist Awards
i. Jose Garcia Villa ii. Nick Joaquin
VI. CONTEMPORARY/MODERN PERIOD (1960 – PRESENT)
A. Characteristics
1.Martial Law repressed and curtailed human rights, including freedom of the press
2.Writers used symbolisms and allegories to drive home their message, at theface of heavy censorship
3.Theater was used as a vehicle for protest, such as the PETA (Phil. Educational Theater Association)
and UP Theater.
4.From the eighties onwards, writers continue to show dynamism and innovation

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