21st-C-Litt-Week-Precolonial-Literary-Genres.pptx

Oral Lore from Pre-Colonial Times (_____ - 1564) Panitikan Bago Dumating Ang Mga Kastila PRE-COLONIAL 1. Oral Tradition Chants, Riddles, Proverbs 2. Written Form a. they contain ancient wisdom b. values c. sentiments d. wishes e. insights into life CONTENTS 1. Identity 2. Pagan nature 3. Love f...

Oral Lore from Pre-Colonial Times (_____ - 1564) Panitikan Bago Dumating Ang Mga Kastila PRE-COLONIAL 1. Oral Tradition Chants, Riddles, Proverbs 2. Written Form a. they contain ancient wisdom b. values c. sentiments d. wishes e. insights into life CONTENTS 1. Identity 2. Pagan nature 3. Love for the unseen 4. Faith >creation – Kabunian A HERITAGE OF SMALLNESS BY NICK JOACQUIN Commerce and Industry  Politics and Government History and Culture. 1917-2004 Indirectness DIVISION OF THE PRECOLONIAL LITERATURE ACCORDING TO E. ARSENIO MANUEL: Mythological Age, Heroic Age, and Folktales from all ages 1. Mythological Age This is the period when our ancestors told stories about the creation of human beings and the world, natural phenomena, and 2. Heroic Age > Epics became a popular genre. > They were chanted during important events in the community to inspire people. > These were also performed to remind the community of their ideals and values. 3. Folktales Philippine folktales are traditional stories that had humans, animals, and even plants as characters. These are fictional tales that have been modified through successive retellings before they were finally recorded and written down. Click icon to add picture Baybayi n from Kavi, a Javanese (Indonesian ) script. REMEMBER: KALATAGAN POT WRITTEN IN VISAYAN LANGUAGE used for ceremonies to retrieve victims of bugkut, disappeared persons believed to have been Use of palm leaves or bamboo, which they wrote on using knives as pens and sap from plants and trees as ink The ancient Tagalog script had 17 basic syllables composed of three vowels and 14 consonants. Vowels: a, e/i, and o/u. Consonants: ba, ka, da/ra, ga, ha, la, ma, na, nga, pa, sa, ta, wa, and ya. The symbols used could be modified to present different vowel sounds. This could be done with the use of the kudlit, which may be a short line, a dot, or even an arrowhead placed at the top or the bottom of the symbol being modified. The following are the conventions of oral literature: 1. Common experiences of the community as subject matter 2. Communal authorship 3. Formulaic repetitions 4. Stereotyping of characters 5. Regular rhythmic and musical devices MAGTANIM AY ‘DI BIRO  Magtanim ay 'di biro Braso ko'y namamanhid Maghapong nakayuko Baywang ko'y nangangawit 'Di man lang makaupo 'Di man lang makatayo Binti ko'y namimitig Sa pagkababad sa tubig  Braso ko'y namamanhid Baywang ko'y nangangawit Halina, halina, mga kaliyag Binti ko'y namimitig Tayo'y magsipag-unat-unat Sa pagkababad sa tubig Magpanibago tayo ng  Sa umagang paggising landas Ang lahat iisipin Para sa araw ng bukas Kung saan may patanim Para sa araw ng bukas May masarap na pagkain Awiyao and Lumnay Here I am  Oh, it's just too much Alone and I don't understand Exactly how it all began Takin' all the whole world all by The dream just walked away myself I'm holdin' on Oh, there's nothin' done When all but the passion's gone Unless I stop trustin' somebody else  And from the start Somebody else, and love again Maybe I was tryin' too hard It's crazy, 'cause it's breakin' my heart  And from the start Things can fall apart, but I know Maybe I was tryin' too hard That I don't want you to go It's crazy, 'cause it's breakin' my  And here was I When they ignore the cause inside heart But they learned from what's left behind Things can fall apart, but I know And fight for something else That I don't want you to go And so it goes That we have both learned how to grow  Maybe I was tryin' too hard Chorus: It's crazy, 'cause it's breakin' my And from the start heart Maybe I was tryin' too hard Things can fall apart, but I know It's crazy, 'cause it's breakin' my heart That I don't want you to go Things can fall apart, but I know That I don't want you to go  Oh no, I don't want you to go Say that you won't go LITERARY FORMS DURING PRECOLONIAL PERIOD A. PROSE MYTHS LEGENDS FOLKTALES B. POETRY EPICS FOLKSONGS PROVERBDS RIDDLES II. PHILIPPINE FOLK NARRATIVES to explain natural phenomena and the origin of things long before science came to be known. A. MYTHS gods, goddesses, and other fantastical creatures as characters. to explain the occurrence of supernatural events, the beginning of cultural traditions, and the existence of mysteries; an attempt to explain the origin of the world and of the people. There are many versions of the creation of the world.  One of which is “The Creation Story” of the Tagalogs. B. LEGENDS historical but cannot be verified as true, legends are stories handed down through generations. These stories are often about famous persons or events. These may tell of an encounter with marvelous creatures, which the folks still believe in: fairies, ghosts, water The legend “How the Angels Built Lake Lanao” of the Maranaws. This version is narrated by Gregorio F. Zaide and Mamitua Saber. C. FOLKTALES are prose narratives usually told to amuse or entertain instructional in nature, dealing with events set in an indefinite time and space. Examples of folktales are animal tales or fables and magical tales such as “The Monkey and the Turtle” D. EPICS a long narrative poem that describes the adventures of a hero, warrior, god, or king. It is influenced by the traditions, culture, beliefs, moral code, and attitudes of the people who created it. The characteristics of a classical epic include the following:  The main character or protagonist of the story is considered a hero.  The hero’s actions are presented without bias; the epic presents both the character’s faults and virtues.  Epics often involve battles, which reveal the extraordinary strength of the protagonist as he engages in acts of bravery.  The setting may span several countries, involve the whole world, or even be set in the universe.  Gods and other divine beings are portrayed as having a role in the outcome of events.  DEUX EX MACHINA “god from the machine” EXAMPLES OF THESE EPICS INCLUDE: 1. Hinilawod – This is considered as the oldest and longest among the epics of Panay. It narrates the adventures of three brothers, Humadapnon, Dumalapdap, and Labaw Denggan. Tales From The Mouth of The Halawod River With care we shall tell, accurately we shall relate The story of the three princes who were born To goddess Alunsina of the Eastern Skies! Strangely, before the mother could open her eyes The first boy born became a mature man to her surprise And she called him Labaw Denggan, radiant as the sunrise! Absoy-y-y-y-y-y-y-y— Then followed the birth of Prince Humadapnon Who immediately became a man, a handsome prince A mighty warrior, the kingdom has ever seen! And before the marvelous mother could have a sigh Came the third son, Dumalapdap, who likewise Became a man, stately in mien-like a cloudless sky! 2. Ibalon – Somehow similar to Hinilawod, this epic is about three brothers: Baltog, Bantiong, and Handiong. This epic originated from the Bicol region. 3. Hudhud – This epic tells about the lives of native Ifugao heroes, the most notable of which is Aliguyon of the village Gonhandan. Aliguyon was endowed with supernatural powers and boundless energy. He has the ability to travel long distances without needing food and rest. Upon arriving at his destination, he still has the same energy as he did when he started his journey. Aliguyon was invincible in battle; he could catch spears in mid-flight and could fight against many combatants. 4. Darangan – This epic is about the sentimental and romantic adventures of noble Maranao warriors; the most famous is about a warrior/prince named Bantugan. Prince Bantugan was the brother of the chieftain of a village called Bumbaran. Bantugan owned a magic shield, was protected by divine spirits, and was capable of rising from the dead. 5. Biag ni Lam-Ang – This is an epic that tells the story of Lam- Ang, who exhibits extraordinary abilities even in his early years. This epic originated from the Ilocos region. POETRY is a form of literature that emphasizes rhythm, metrical structure, and the use of imagery and sound patterns. is organized in stanzas, which are groups of consecutive lines in a poem, with each stanza forming a A. FOLK SONGS are repetitive and sonorous and have a playful melody. They may be about love and courtship, a long day’s work, or may be songs sung at a funeral.  Doon Po Sa Amin Leron, Leron Sinta I Leron, Leron, sinta Doon po sa amin Buko ng papaya Bayan ng San Roque Dala dala’y buslo May nagkatuwaang Sisidlan ng sinta Apat na pulubi Pagdating sa dulo’y Nagsayaw ang pilay Nabali ang sanga, Umawit ang pipi Kapos kapalaran Nanood ang bulag Humanap ng iba. Nakinig ang bingi II Doon po sa amin Gumisang ka Neneng, tayo’y Maralitang bayan manampalok Nagkatay ng hayop Dalhin mo ang buslo, sisidlan ng hinog Niknik ang pangalan Pagdating sa dulo’y uunda-undayog Ang taba po nito Kumapit ka Neneng, baka ka mahulog. Nang maipatunaw Halika na Neneng at tayo’y magsimba Ang nakuhang langis At iyong isuot ang baro mo’t saya Apat na tapayan Ang baro mo’t sayang pagkaganda-ganda III Kay ganda ng kulay — berde, puti, pula. Doon po sa amin Ako’y ibigin mo, lalaking matapang Bayan ng Malabon Ang baril ko’y pito, ang sundang ko’y May isang matandang siyam Nagsaing ng apoy Ang lalakarin ko’y parte ng dinulang Palayok ay papel Isang pinggang pansit ang aking kalaban. Papel pati tungtong Tubig na malamig Ang iginagatong. DOON PO SA AMIN I  Doon po sa amin III  Bayan ng San Roque Doon po sa amin  May nagkatuwaang  Apat na pulubi Bayan ng Malabon  Nagsayaw ang pilay May isang matandang  Umawit ang pipi  Nanood ang bulag Nagsaing ng apoy  Nakinig ang bingi Palayok ay papel  II  Doon po sa amin Papel pati tungtong  Maralitang bayan Tubig na malamig  Nagkatay ng hayop  Niknik ang pangalan Ang iginagatong.  Ang taba po nito  Nang maipatunaw  Ang nakuhang langis  Apat na tapayan   Leron, Leron Sinta Gumisang ka Neneng, tayo’y Leron, Leron, sinta manampalok Dalhin mo ang buslo, sisidlan ng hinog Buko ng papaya Pagdating sa dulo’y uunda-undayog Dala dala’y buslo Kumapit ka Neneng, baka ka mahulog. Sisidlan ng sinta Halika na Neneng at tayo’y magsimba At iyong isuot ang baro mo’t saya Pagdating sa dulo’y Ang baro mo’t sayang pagkaganda-ganda Nabali ang sanga, Kay ganda ng kulay — berde, puti, pula. Ako’y ibigin mo, lalaking matapang Kapos kapalaran Ang baril ko’y pito, ang sundang ko’y Humanap ng iba. siyam Ang lalakarin ko’y parte ng dinulang Isang pinggang pansit ang aking kalaban. FOLK SONGS 1. Oyayi – to hush babies to sleep. 2. Songs of childhood- “Leron-leron Sinta” 3. Description of a garden- “Bahay Kubo” 4. Imitation of the movements of a crab “Pakitong-kitong” 5. The value of wise spending money “Ako ay may lobo” 6. Enumerates the month of the year “Lubi-lubi” 7. Work and activity song- “Magtanim Ay Di Biro” > A fisherman’s frustration over a small catch- “Si Pilemon” Si Pilemon, si Pilemon Filemon, Filemon Namasol sa kadagatan Went to sea to catch some fish Nakakuha, nakakuha What did he catch (2x) Sa isda nga tambasakan Only a small mudskipper. Guibaligya, guibaligya He sold it, he sold it, Sa merkadong guba At a rickety market Ang halin pulos kura For it he got kura Igo lang ipanuba. Just enough to buy tuba. 8. About family life Atin Cu Pung Singsing ( I Have A Ring) I have a ring The sorrow of my heart With precious stone, Cries to heaven It was given to me I crossed my hands By my mother so dear; On top of the table Whoever will find it Once I kept it The ring I inherited; In an iron chest, My poor heart Thus it was gone Will serve? I don’t know who got it.  Sarong Baggi (One Night) from Bicol One night I went back to bed While in bed that night I will never forget I heard the singing It is imprinted in my heart Of a bird for all time, I thought it was a dream Wherever I am. But no it was your voice That I heard. Quickly I got up I opened my eyes I peered into the darkness And when I raised my eyes It was your face I saw very clearly  Pamulinawen (Stone-hearted) from Ilocos Hey stone-hearted, listen to my pleadings There are many flowers here, but There is nothing that Gives me comfort but you. I will never forget your sweetness And good name. No matter Where I go, I keep calling you. When I think of you, my heart Is relieved. In my travels, I always think about Beauty. When I rest I cannot Sleep because of you. 9. PRAISES FOR THE FILIPINA WOMAN Kataka-taka Kataka-takang mahibang ang katulad ko sa iyo Biru-biruang simula ang wakas pala ay ano Aayaw-ayaw na ako ngunit ‘yan ay di totoo Dahil sa iyo puso kong ito’y binihag mo. Alaala ka maging gabi’t araw Alipinin mo’y walang kailangan Marinig ko lang sa labi mo hirang Na ako’y iibigin lagi habang buhay. B. PROVERBS (SALAWIKAIN)  Proverbs are short sayings enveloped in rhymed verse that are meant to give advice to the young, offering words of wisdom or stating how one should live.  Examples: -Huwag magbilang ng sisiw hanggang di pa napipisa ang itlog. (Don’t count chicks until the eggs are hatched.) Matibay ang walis, palibhasa’y magkabigkis. (A broom is sturdy because its strands are tightly bound.) Hangga’t makitid ang kumot, matutong mamaluktot. (While the blanket is short, learn how to bend.) FOLK SPEECH 1. Proverb (Salawikain) – use of metaphors drawn from the surrounding nature and everyday life. RHYMING COUPLETS 1. Five syllables Kung hindi uukol Hindi bubukol 2. Six Syllables Ang bibig na tikom Ligtas sa linggatong. 3. Nine Syllables Lumilipas ang kagandahan Ngunit hindi ang kabaitan. “Beauty fades but not goodness.” LONGER TAGALOG PROVERBS Three-line stanza Ang dalagang may puri, Wala mang salapi, May yumi at dangal na itinatangi. “A maiden who is pure though she has no money, has modesty and honor to cherish.” PARALLEL CONSTRUCTION, ALMOST ALWAYS ACCOMPANIED BY CONTRAST. Malakas ang loob Mahina ang tuhod. “Strong in will, but weak- kneed.” PROVERBS FROM DIFFERENT ETHNOLINGUISTIC GROUPS Tagalog Madaling tuwirin ang kawayan, Kung mura pa at di magulang. ILOCANO Matay dagiti naimbag a tao, Ngem dagiti naganda saan a matay. Good men die, but their names do not die. PAMPANGO Ing gagawang kayapan ngeni, Bukas yang bandi. Whatever good deeds you do now, are the treasure of the future. THE PROVERBS EXPRESS PERSPECTIVE 1. Family solidarity IN LIFE Ang sakit ng kalingkingan Dama ng buong katawan 2. Honesty 9. Charity 3. Character 10. Courage and daring 4. Industry 11. Modesty 5. Thrift 12. Prudence 6. Leadership 13. Friendship 7. Contentment 14. Consideration for others 8. Greed  C. RIDDLES (BUGTONG)  are perplexing questions meant to be guessed or solved.  These are used for entertainment, and they require one to observe, analyze, and imagine to provide the right answer.  Examples: Nagtago si Pedro Nakalitaw ang ulo. (Pedro hides, but you can still see his head.) Ako ay may kaibigan, kasama ko kahit saan. (I have a friend who is with me everywhere I go.) Heto na si Kaka, bubuka-bukaka. (Here comes Kaka, walking with his legs wide apart.) RIDDLES It uses one or more images as metaphor to refer to an object to be guessed. Rhyming forms: 1. couplets Isda ko sa Mariveles Nasa loob ang kaliskis. 2. Tercets Manok kong pula Umakyat sa Sampaga Nagpakita ng ganda. 3. Quatrain May isa kang kaibigan Kasama mo sa higaan Bago ka pagnakawan Ikaw muna’y kakantahan (A friend of yours go to bed with you, before he steals from you, he first stings you.) RIDDLES ABOUT PROPER NAMES Buhok ni Adan Hindi mabilang. INDIRECT QUESTION Anong prutas ang malayo sa sanga? RIDDLES EXERCISE 1. Baboy ko sa pulo Balahibo’y pako. 2. Hindi naman hari Hindi naman kapitan Mataas ang luklukan 3. Limang magkakapatid Mataas ang dibdib. 3. Buto’t balat Lumilipad. 4. May kamay, walang paa May mukha, walang mata. 5. Sa pitong magkatoto Lima lamang ang naging santo. Of the seven friends, only five became saints. 6. Lumalakad walang paa, Lumuluha walang mata. (It walks but has no feet; it weeps but it has no eyes.) 7. Dala mo, dala ka Dala ka pa ng iyong dala. (You carry it; it carries you; what you carry, carries you. 8. Iisa ang pinasukan Tatlo ang nilabasan 9. Anak ng iyong ina Hindi mo kapatid Ngunit iyong kilala. 10. Hawakan mo ang buntot ko at sisisid ako. 11. When you cut it It is mended without a scar. 12. Captain took a bath His stomach didn’t get wet. COMMON RIDDLES Sinong mag-aakalang sa Tindig at tikas n’ya, Gawain pala ay mangopya Nang magopya.  SHORT POEMS OR FOLK POETRY (CHANTED, QUATRAINS WITH 5-12 SYALLABLES PER LINE) 1. Tagalog Bulong – invocation to environmental spirits or animals believed to possess magic powers. Tabi, tabi po Inkong Ex. Makikiraan lang po. Daga, daga Eto ang ngiping kong luma Palitan mo ng ngiping bago.  2. TANAGA  Four lines, full of metaphors, seven syllables in every line. Ang tubig ma’i malalim Though the water is deep Malilirip cung libdin it can be fathomed if one tries; Itong burhing magaling it is a man’s good heart Maliual paghanapin. That is difficult to find. Pang umagang hangin ‘Di mo nanaisin H angga’t di kumakain ng Lucky Me Supreme. Pinoy man o foreigner sa akin ay lumalapit Bastat may peso o dollar na kapalit Pero kung sa daga ay mas mahirap ka pa Ok lang basta guapo kahit pang softdrinks lang pwede na. RIDDLES Group activity. For 15 to 20 minutes, create five (5) modern riddle whose subject is an object, person, place, or event in one whole sheet of paper. Rubric: Has given five (5) riddles – 50% Observed rhyme scheme- 30% Has used imagery in the riddle – 20%  Total: 100% PRE-COLONIAL LITERATURE Folklore “lore” Refers to oral knowledge preserved among the illiterate masses or the oral lit. of all people whether they have written or not. Three groups of ethnic lit.: Folk narratives Folk speech Folk songs FOLK NARRATIVES 1. Myths- are prose narratives explaining how the world and people came to be in their form. Kinds: 1. origin myth Image of woman approach motif- transformation 2. Legends- are prose narrative accounts of an extraordinary happening believed to have actually occurred (witch, fairy and mermaid). FOLKTALES are prose narratives primarily told for amusement and individual entertainment and instructional value, , dealing with events set in an indefinite time and place. Kwentong bayan Fable or animal tales Humorous tales-are subdivided into numskull or noodle-head tales (Juan Tanga)and trickster tales (Pilandok). Novelistic tales Religious and Didactic (sermonizing) Tales- punishment and reward FOLK EPICS OR ETHNOEPICS are long narrative accounts of heroic exploits or events of a hero under supernatural control It’s either sung or chanted Aid of the hero: nature spirit, ancestral spirit, natural objects (Biag ni Lam-Ang) EPIC PHILIPPINE “ETHNOEPICS” CAN BE UNDERSTOOD THROUGH THEIR COMMON FEATURES AS DECRIBED BY E. ARSENIO MANUEL. 1) narratives of sustained length; 2) based on oral tradition; 3) revolving around supernatural events or heroic deeds; 4) in the form of verse; 5) which is either chanted or sung; 6) with a certain seriousness of purpose, embodying or validating beliefs, customs, ideals or life-values of the people. Vladimir Propp’s Morphology of Folktale Steps 1 to 7 introduces the situation and most of the main characters, setting the scene for subsequent adventure. 1. Absentation: Someone goes missing 2. Interdiction: The hero is warned 3. Violation of interdiction 4. Reconnaissance: Villain seeks something 5. Delivery The villain gains information 6. trickery Villain attempts to deceive victim 7. Complicity Unwitting helping of the 2nd Sphere: The Body of the story The main story starts here and extends to the departure of the hero on the main quest. 8. Villainy and The need is lack: identified 9. Mediation: Hero discovers the lack 10. Counteraction: Hero chooses positive action 11. Departure: Hero leaves on mission 3rd Sphere: The Donor Sequence  the hero goes in search of a method by which the solution may be reached, gaining the magical agent from the Donor. 12. Testing: Hero is challenged to prove heroic deeds. 13. Reaction: Hero responds to test 14. Acquisition: Hero gains magical item 15. Guidance: Hero reaches destination 16. Struggle: Hero and villain do battle 17. Hero is Branding branded 18. Victory Villain is defeated 19. Initial misfortune Resolution or lack is 4th Sphere: The Hero’s return In the final (and often optional) phase of the storyline, the hero returns home, hopefully uneventfully and to a hero's welcome, although this may not always 20. Return: Hero sets out for home 21. Pursuit Hero is chased 22. Rescue Pursuit ends 23. Arrival Hero arrives unrecognized 24. Claim False hero makes unfounded claims 25.Task Difficult task proposed to the hero 26. Solution: Task is resolved 27. Recognition Hero is recognized 28. Exposure False hero is exposed 29. Transfiguration Hero is given a new appearance 30. Punishment Villain is punished 31. Wedding Hero marries and ascends the throne III. PHILIPPINE MYTHOLOGY AND PHILIPPINE FOLK LYRIC AND SPEECH animism, which is a belief that souls or spirits exist in plants, animals, or objects. It comes from the Latin word anima, which, according to psychologist Carl Jung, means a person’s inner self or soul. In the Philippines, deities vary in different regions. Kaluwalhatian is the term used to refer to the home of ancient Philippine gods and goddesses. 1. Bathala or Bathalang Maykapal is the king of the gods in Tagalog myths. He married a mortal, with which he had three children: Apolaki (god of war and guardian of the sun), Mayari (goddess of the moon), and Tala (goddess of the stars). 2. Apolaki and Mayari (or Adlaw and Bulan in Visayan) ruled the earth at different times. This is because of a conflict between them when Bathala died and he did not pass the title to any of his children. 3. Tala is the goddess who warns Mayari that the sun god is gone and that it is safe for her to come out along with the stars. 4. Amihan is believed to be a bird, which is said to be the first creature that inhabited the earth. It is linked to the story of creation of the Tagalogs. 5. Bacunawa, or the “moon eater,” is the god of the underworld. Believed to have an image of a serpent or dragon, he is the one responsible for eclipses. CATEGORIZE THE FOLLOWING STATEMENTS AS PERTAINING TO A FOLKTALE, LEGEND, MYTH, OR EPIC. 1.These are believed to be historical but cannot be verified as true. 2. This narrative may also attempt to explain the origin of the world and of the people. 3. These stories are often about famous persons or events. 4. This is a long narrative poem that describes the adventures of a hero, warrior, god or king. 5. These are prose narratives usually told to amuse or entertain.  What are the different folk narratives in the Philippines? Brainstorming: Using a cluster chart, map out the different literary genres (narratives) that you are familiar with. Guide Questions: 1. Why do you think these genres are narratives? 2. Can you give examples of these genres? TABLEAU (FREEZE FRAMES) BODY MOVEMENT & FACIAL EXPRESSION- 10 POINTS Student is consistently able to: Modify posture, poses, gestures, movements, and/or walk, including High/medium/low levels Pose with an audience’s perspective in mind Use energy when modifying or adjusting body Use dramatic facial expression appropriate to thoughts and feelings of the character Expression exaggerated for audience to see Body/face show dramatic tension Communicate consistent meaning  TABLEAU FOCUS – 5 POINTS (FREEZE FRAMES) Student is consistently able to: - Look inside freeze frame - Remain in character - Remain frozen when cued - Remain silent when cued  TABLEAU NARRATION, COOPERATION, (FREEZE COSTUMES, FRAMES) MUSIC– 5 POINTS Student actively involved as member of an ensemble/team Able to share roles equitably Shares leadership Embraces new ideas Values all members