PHILIPPINE-LITERARY-HISTORY.pptx

PHILIPPINE LITERARY HISTORY Literary History is the historical development of writings in prose or poetry which attempts to provide entertainment, enlightenment, or instruction to the reader/hearer/observer, as well as the development of the literary tec...

PHILIPPINE LITERARY HISTORY Literary History is the historical development of writings in prose or poetry which attempts to provide entertainment, enlightenment, or instruction to the reader/hearer/observer, as well as the development of the literary techniques used in the communication of these pieces (Wikipedia “Literary History,” 2019) Philippine literature is literature associated with the Philippines from prehistory, through its colonial legacies, and on to the present. Literature is truly every country’s living treasure. Indeed, literature is a significant mark of every culture for it provides a lot of important pieces of information that one may know to better understand human life and experiences The Philippines, aside from its very rich and unique culture and history, has a lot to offer in terms of its literature. One scholar has once mentioned that the Philippines, being an archipelago, has the richest literature. The cultural and linguistic diversity of the country propelled the production of numerous literary masterpieces which are mainly exhibitions of the aspirations, struggles, and experiences of people in all parts of the archipelago then and now. Reading Philippine literature is one best way to understand better the Filipino psyche (soul & mind) and temperament. Thus, literature serves as our foremost travel pass to see the wonders of the Philippines. In this module, it is necessary to trace the developments in literature during the significant periods in our history that shaped our identities as a nation hailed as “the pearl of the orient.” 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 rousing 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.” EARLY PHILIPPINE LITERATURE The early inhabitants of the Philippine archipelago had a native alphabet or syllabary which among the Tagalogs was called baybayin, an inscription similar to Sanskrit. It was through the baybayin that literary forms such as songs, riddles and proverbs, lyric and short poems as well as parts of epic poems were written. The bulk (large quantity) of these early literature however was just passed on through oral recitation and incantation and were transcribed into the Roman alphabet only centuries later by Spanish chroniclers and other scholars. It is believed that the replacement of the baybayin by the Roman alphabet must have obliterated (destroy, erase) a significant aspect of indigenous (native, ethnic) Philippine literature. Among the early forms, it is the awit or the song that has endured. Most ethnolinguistic communities remember the native tunes and lyrics of their songs. Fathers Chirino and Colin noted that among the Tagalogs, there were some 16 song forms for various occasions. Among these are the uyayi or hele, a lullaby for putting a child to sleep; the soliranin is a song for travelers while the talindaw is the seafarers song; the kumintang is a war song; the maluway is a song for collective labor while the kundiman is a melancholic love song. The dalit, is a song-ritual usually sung to the rhythm of dance. The panambitan is a courtship song while the pamanhikan is a song-ritual of the would-be bridegroom to his would-be bride as he asks permission to marry her. The subli is another dance-ritual song of courtship and marriage. Tagalog riddles are called bugtong. Usually, riddles are made to rhyme and utilize the talinghaga, a form of metaphor whose signification eventually conveys the meaning of the answer to the riddle. Riddles such as these for instance illustrate the use of the talinghaga: Examples: Hindi hari, hindi pari Ang damit ay sari-sari May puno, walang bunga May dahon, walang sanga Tagalog proverbs are called salawikain or sawikain. Like most proverbs the world over, Philippine proverbs contain sayings which prescribes norms, imparts a lesson or simply reflects standard norms, traditions and beliefs in the community. Professor Damiana Eugenio classifies Philippine proverbs into six groups according to subject matter. These are (1) proverbs expressing a general attitude towards life and the laws that govern life; (2) ethical proverbs recommending certain virtues and condemning certain vices; (3) proverbs expressing a system of values; (4) proverbs expressing general truths and observations about life and human nature; (5) humorous proverbs and (6) miscellaneous proverbs. From her study, Eugenio observes that it is possible to formulate a fairly comprehensive philosophy of life of the Filipino. Ang hindi lumilingon A person who does sa pinanggalingan not remember Hindi makararating where he/she came sa paroroonan. from will never reach his/her destination. The most exciting poetic as well as narrative forms of early Philippine literature however are the Philippine epics or ethno-epics. Almost all the major ethnic groups in the country have an epic that is chanted in a variety of rituals. Because chanting is the mode by which these epics have been produced, many of them still remain unwritten. The ASEAN-sponsored study of Filipino epics asserts that there are about one hundred (100) extant epics in the Philippines that have been discovered, most of these from the island of Palawan. Biag ni Lam-ang (Life of Lamang) tells of the adventures of the prodigious epic hero, Lam-ang who exhibits extraordinary powers at a very 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. Other examples: Sandayo, Agyu or Olahing, Labaw Donggon, Aliguyon or Hudhud Bikol’s known epic: IBALON As for shorter narratives, there are stories that tell of the origins of the people, of the stars, the sky and the seas. A common story of the origin of man and woman is that of Sicalac (man) and Sicavay (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 could actually assert woman’s equality with man among indigenous settings. The eminent scholar and critic, Don Isabelo de los Reyes, had collected a good number of folk tales, legends and myths which he had exhibited in Madrid in 1887 and won a distinguished award of merit for it. These are now anthologized in a book El Folklore Filipino (1996). PRECOLONIAL LITERATURE 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. Drama as a literary form 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 of 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 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. 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. Below are some important motifs (themes) and features of pre-colonial literature:  The beginning of life and of earth Accounts about great people or supernatural heroes  The inclusion of gods and goddesses  The inclusion of mythical creatures like duwende, aswang, tikbalang and the like  Themes of morality; good and bad practices in life  Daily encounters and activities in life  SPANISH COLONIZATION The Spanish colonial strategy was to undermine (weaken) the native oral tradition by substituting for it the story of the Passion of Christ. Although Christ was by no means war-like or sexually attractive as many of the heroes of the oral epic tradition, the appeal of the Jesus myth inherent in the protagonist’s superior magic: by promising eternal life for everyone, he democratized the power to rise The church authorities adopted a policy of spreading the Church doctrines by communicating to the native (pejoratively called Indio) in his own language. Doctrina Christiana (1593), the first book to be printed in the Philippines, was a prayerbook written in Spanish with an accompanying Tagalog translation. It was, however, for the exclusive use of the missionaries who invariably read them aloud to the unlettered Indio catechumens (religious pupil), who were to rely mainly on their memory. But the task of translating religious instructional materials obliged the Spanish missionaries to take a most practical step, that of employing native speakers as translators. Eventually, the native translator learned to read and write both in Spanish and his native language. This development marked the beginning of Indio literacy and thus spurred the creation of the first written literary native text by the native. These writers, called ladinos because of their fluency in both Spanish and Tagalog, published their work, mainly devotional poetry, in the first decade of the 17th century. Among the earliest writers of note were Francisco de San Jose and Francisco Bagongbata. But by far the most gifted of these native poet- translators was Gaspar Aquino de Belen. Mahal Na Pasion ni Jesu Christo, a Tagalog poem based on Christ’s passion, was published in 1704. This long poem, original and folksy in its rendition of a humanized, indeed, a nativized Jesus, is a milestone in the history of Philippine Ironically — and perhaps just because of its profound influence on the popular imagination — as artifact it marks the beginning of the end of the old mythological culture and a conversion to the new paradigm introduced by the colonial power. Until the 19th century, the printing presses were owned and managed by the religious orders. Thus, religious themes dominated the culture of the Christianized majority. But the native oral literature, whether secular or mythico-religious continued. Even among the Christianized ethnic groups, the oral tradition persisted in such forms as legends, sayings, wedding songs such as the balayan and parlor theater such as the duplo. In the 18th century, secular literature from Spain in the form of medieval ballads inspired the native poetic-drama form called the komedya, later to be called moro-moro because these often dealt with the theme of Christians triumphing over Moslems. Francisco Baltazar (1788 – 1862), popularly called Balagtas, is the acknowledged master of traditional Printing overtook tradition. The printed page, by itself, became the mnemonic device, the stage set for the development of prose. The first Filipino novel was Ninay, written in Spanish by Pedro Paterno, a Philippine-born ilustrado. Following the sentimental style of his first book Sampaguitas (a collection of poems in Spanish), the novel endeavored to highlight the endearingly unique qualities of Filipinos. Rizal’s two novels, the Noli Me Tangere and its sequel El Filibusterismo, chronicle the life and ultimate death of Ibarra, a Filipino educated abroad, who attempts to reform his country through education. At the conclusion of the Noli, his efforts end in near-death and exile from his country. In the Filibusterismo, he returns after reinventing himself as Simoun, the wealthy jeweler, and hastens social decay by further corrupting the social fabric till the oppressed react violently to overthrow the system. But the insurrection is foiled and Simoun suffers a violent death. In a sense, Rizal’s novels and patriotic poems were the inevitable conclusion to the campaign for liberal reforms known as the Propaganda Movement, waged by Graciano Lopez Jaena, and M.H. del Pilar. The two novels so vividly portrayed corruption and oppression that despite the lack of any clear advocacy, they served to instill the conviction that there could be no solution to the social ills but a violent one. Bonifacio’s most important work are his poems, the most well-known being Pag-Ibig Sa Tinubuang Lupa. The turn of the century witnessed not only the Philippine revolution but a quieter though no less significant outbreak. The educated women of the period produced significant poetry. Gregoria de Jesus, wife of Andres Bonifacio, wrote notable Tagalog poetry. Meanwhile, in Vigan of the Ilocano North, Leona Florentino, by her poetry, became the foremost Ilocano While it is true that Spain overpowered the Philippines for more ordinary reasons, this former European power contributed much in the shaping and recording of our literature. Religion and institutions that represented European civilization enriched the languages in the lowlands, introduced theater which we would come to know as komedya, the sinakulo, the sarswela, and the drama. Literature in this period may be classified as religious prose and poetry and secular prose and poetry. Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were included in early catechism and were used to teach Filipinos the Spanish language. Fernando Bagonbanta’s “Salamat nang walang hangan/gracias de sin sempiternas” (Unending thanks) is a fine example that is found in the Memorial de la vida cristiana en lengua tagala (Guidelines for the Christian Life in the Tagalog language) published in 1605. But among the religious poetry of the day, it is the pasyon in octosyllabic quintillas that was established in the Filipino’s commemoration of Christ’s agony and resurrection at Calvary. Gaspar Aquino de Belen’s “Ang Mahal na Passion ni Jesu Christong Panginoon natin na tola” (Holy Passion of Our Lord Jesus Christ in Verse) put out in 1704 is the country’s earliest known pasyon Secular works appeared alongside historical and economic changes, the emergence of a wealthy class and the middle class who could avail of a European education. This Filipino elite could now read printed works that used to be the exclusive domain of the missionaries. Another popular secular poetry is the metrical romance, the awit and korido in Tagalog. These are colorful tales of chivalry from European sources made for singing and chanting such as Gonzalo de Cordoba (Gonzalo of Cordoba) and Ibong Adarna (Adarna Bird). There are numerous metrical romances in Tagalog, Bicol, Ilongo, Pampango, Ilocano and in Pangasinan. The awit as a popular poetic genre reached new heights in Balagtas’ “Florante at Laura” the most famous of the country’s metrical romances. Again, the winds of change began to blow in 19th century Philippines. Filipino intellectuals educated in Europe called ilustrados began to write about the downside of colonization. This, coupled with the furious calls for reforms by the masses gathered a formidable force of writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto and Andres Bonifacio. This led to the formation of the Propaganda Movement where prose works such as the political essays and Rizal’s two political novels, Noli Me Tangere and the El Filibusterismo helped introduce the Philippine revolution resulting in the downfall of the Spanish regime, and, at the same time planted the seeds of a national consciousness among Filipinos. The introduction of English as medium of instruction in the Philippines speed up the demise (death) of Spanish so that by the 1930s, English writing had overtaken Spanish writing. Christianity was proclaimed by the first group of colonizers of the land as the penultimate impetus of Spain’s occupation in the Philippines during the height of the 16th century. Their presence in the land brought numerous and monumental changes not only in religion, way of life of the people, culture but also in language and system of writing. The Spanish language was introduced as well as the utilization of Roman alphabet in writing. Spain wanted to set the history of the discovered land as if everything had started in their existence and presence in the islands. They attempted to erase any mark of its pure identity and culture. There was a new offering as to the motifs (themes) and subjects in literature. During such period, there was an emphasis on Christian doctrine as manifested by the type of texts which were introduced to the primitive settlers of the land. Most of these were about prayers, novenas, and stories about the lives of saints, and those taken from the Bible which was used to teach values. Also, it could be noted that during such period, literature was mainly moralistic in nature. The Doctrina Cristiana which was written by friars in both Tagalog and Spanish languages contained religious texts like the basic prayers such as the Pater Noster or the “Our Father” and Ave Maria also known as “Hail Mary”, and also the Ten Commandments among others. The Pasion highlights the life, death, and resurrection of Jesus Christ. This book is popularly read and celebrated during the Lenten season. The lines are recited accompanied by music. Reading this book gives readers a chance to look into the heroic deeds of Jesus driven by love, mercy, and compassion. For more than 300 years of being colonized by the Spaniards, we can’t deny the fact that through their colonization, we became what we are right now. For a very long time, the Spaniards had given so much contribution to the country, they had a humongous influence to the Filipino people. From the culture and beliefs, to the way of living, from the infrastructures they built, up to the education and many more and I can say that Christianity is one of the greatest contributions that they brought to the country. Through this it made the country known to be the only predominantly Christian nation in Asia. Because of these great contributions, we were able to adapt things that became our tool to have a better way of living even up to these days. It is nothing unexpected that over this long span of time, the Spanish dialect made its way into the Filipino language. On the other hand, we can’t deny as well the truth that we’ve suffered a lot because of their wrong treatment to us Filipinos in our own native land. Our freedom was stolen to us, we became slaves and treated like nobody. With this, the revolution began. There were still people who fought and sacrificed their lives for the freedom of the country. Somehow, we should still be thankful to the Spaniards, because they brought so much learning to us that made our culture to be very colorful and wonderful. I can say that we have a bountiful and rich culture in the country that made our Philippine Literature become more meaningful and interesting.  AMERICAN COLONIZATION A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story and the critical essay were introduced. American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writer’s individuality and cultivated consciousness of craft. The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in poetry, a departure from the traditional rhymed, measured and orally recited poems. Paz Marquez Benitez’s “Dead Stars” published in 1925 was the first successful short story in English written by a Filipino. Deogracias Del Rosario is considered the father of the modern short story in Tagalog. It was also during this time that writing Tagalog novels became a vogue among the Filipino writers who opted to write in their native dialect. The primary aim of the literary form is to entertain, teach, and portray the Filipino way of life. Novels in English were also produced by a number of Filipino fictionists who had gained expertise in the complexity of craft and technique as they portrayed the Filipino experience. Child of Sorrow was the first Filipino novel in English written in 1921 by Zoilo M. Galang. Poetry in all languages continued to flourish in all regions of the country during the American period. The Tagalogs, hailing Francisco F. Balagtas as the nation’s foremost poet invented the balagtasan in his honor. The balagtasan is a debate in verse, a poetical joust done almost spontaneously between protagonists who debate over the pros and cons of an issue. The first balagtasan was held in March 1924 at the Instituto de Mujeres, with Jose Corazon de Jesus and Florentino Collantes as rivals, bubuyog (bee) and paru-paro (butterfly) aiming for the love of kampupot (jasmine). It was during this balagtasan that Jose Corazon de Jesus, known as Huseng Batute, emerged triumphant to become the first king of the Balagtasan. Jose Corazon de Jesus was the finest master of the genre. He was later followed by balagtasistas. Education was the foremost contribution of the American occupation and it propelled to the growth of literary among Filipinos. Part of which was the introduction of the English language. Philippine literacy in English flowered and gained maturity in form and in substance. Thus, most works produced during such period gained national and international recognition. Features of Philippines Literature in this Period  In the early part of American occupation, Spanish, Tagalog, and other local languages were used and later on English was later on used.  Contemplations as to the conditions of the country remained as a transcending theme of most works under this period.  Imitation of the writing style and method of the Americans.  JAPANESE COLONIZATION The presence of the Japanese forces brought some interruptions not only in the development of the country but also in its literature. The journalistic writing was ceased and placed under strict monitoring. This led to all newspapers not to be circulated in the community except for Tribune and Philippine Review. Mainly, this period served as the “golden period” for short stories and Tagalog drama. The use of English was prohibited and the vernacular or the national language dominated. Nationalism, patriotism, and life struggles prevailed as themes and motifs of texts produced during such period. However, the publication of these works was secretly done. Three types of poems emerged during this period: a. Haiku - Japan’s foremost poetic form became popular. This is a poem of free verse that the Japanese like. It is made up of 17 syllables divided into three lines. b. Tanaga – like the Haiku, is short, but it has measure and rhyme. c. Karaniwang Anyo (usual form) Filipino Poetry During This Period: The common theme of most poems during the Japanese occupation was nationalism, country, love, life in the barrios, faith, religion, and the arts.  PHILIPPINE LITERATURE IN THE POST-WAR AND CONTEMPORARY PERIOD The flowering of Philippine literature in the various languages continue especially with the appearance of new publications after the Martial Law years and the revival of committed literature in the 1960s and the 1970s. Filipino writers continue to write poetry, short stories, novellas, novels and essays whether these are socially committed, gender/ethnic related or are personal in intention or not. Poems during the period were romantic and revolutionary. Many Filipino songs dealt with themes that were true-to-life like those of grief, poverty, aspirations for freedom, love of God, of country, and fellowmen. (Example: Ang Bayan Ko by Freddie Aguilar) Of course the Filipino writer has become more conscious of his art with the proliferation (spread) of writers workshops here and abroad and the bulk of literature available to him via the mass media including the internet. Filipinos during this period were hooked on reading magazines and comics. The various literary awards such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life and Panorama literary awards encourage him to compete with his peers and hope that his creative efforts will be rewarded in the long run. With the new requirement by the Commission on Higher Education of teaching of Philippine Literature in all tertiary schools in the country emphasizing the teaching of the vernacular literature or literatures of the regions, the audience for Filipino writers is virtually assured. And, perhaps, a national literature finding its niche (place, role) among the literatures of the world will not be far behind. NATIONAL ARTISTS FOR LITERATURE The Order of National Artists (Orden ng Pambansang Alagad ng Sining) is the highest national recognition given to Filipino individuals who have made significant contributions to the development of Philippine arts; namely, Music, Dance, Theater, Vis ual Arts, Literature, Film, Broadcast Arts, and Architecture and Allied Arts. The order is jointly administered by the National Commission for Culture and the Arts (NCCA) and the Cultural Center of the Philippines (CC P) and awarded by the President of the Philippines upon recommendation by both institutions. Members of the Order are known as National Artists. The Order is administered by the Cultural Center of the Philippines by virtue of President Ferdinand Marcos's Proclamation № 1001 of April 2, 1972 and the National Commission for Culture and th e Arts. The first award was posthumously conferred on Filipino painter Fernando Amorsolo, National Artist for Visual Arts – Painting (1972, Literature – poetry, fiction, essay, playwriting, journalism and/or literary criticism; CRITERIA Nominations for National Artist of the Philippines are based on a broad criteria, as set forth by the Cultural Center of the Philippines and the National Commission on Culture and the Arts:  Living artists who have been Filipino citizens for the last ten years prior to nomination as well as those who have died after the establishment of the award in 1972 but were Filipino citizens at the time of their death;  Artists who have helped build a Filipino sense of nationhood through the content and form of their works;  Artists who have distinguished themselves by pioneering in a mode of creative expression or style, making an impact on succeeding generations of artists;  Artists who have created a significant body of works and/or have consistently displayed excellence in the practice of their art form, enriching artistic expression or style;  Artists who enjoy broad acceptance through prestigious national and/or international recognition, awards in prestigious national and/or international events, critical acclaim and/or reviews of their works, and/or respect and esteem from peers within an artistic discipline. Nominations are then submitted to the National Artist Secretariat that is created by the National Artist Award Committee; experts from the different art fields then sit on a First Deliberation to prepare the short list of nominees. A Second Deliberation, which is a joint meeting of the Commissioners of the NCCA and the Board of Trustees of the CCP, decides on the final nominees. The list is then forwarded to the President of the Philippines, who, by Presidential Proclamation, proclaims the final nominees as members of the Order Recipients attend a conferment ceremony at Malacañang Palace, where the President bestows on them the insignia (emblem/badge) of the Order: an ornate, gilt collar and a small pin, both depicting the Order's emblem. In addition to the collar, each new Member is given a citation that is presented during the conferment ceremony.  Emblem of the Order of National Artists, which appears on the collar bestowed on members. The Cultural Center of the Philippines then presents a Memorabilia Exhibit of the recipients' works, and holds a Gabi ng Parangal (Night of Tributes) for the National Artists at the Tanghalang Pambansa. BENEFITS  The rank and title of National Artist, as proclaimed by the President of the Philippines;  The insignia of a National Artist and a citation;  A lifetime emolument (payment/reward/fee/compensation) and material and physical benefits comparable in value to those received by the highest officers of the land such as:  a cash award of One-Hundred Thousand Pesos (₱200,000.00) net of taxes, for living awardees;  a cash award of Seventy-Five Thousand Pesos (₱150,000.00) net of taxes, for posthumous awardees, payable to legal heir/s;  a P50,000 monthly life pension, P750,000 medical and hospitalization benefits;  life insurance coverage for Awardees who are still insurable;  a state funeral and burial (expenses) at the Libingan ng mga Bayani;  a place of honor, in line with protocolar precedence, at national state functions, and recognition at cultural events; AWARDEES OF THE NATIONAL ARTIST OF THE PHILIPPINES ORDER, FOR LITERATURE 1972 – Amado V. Hernandez (posthumous conferment) 1973 – Jose Garcia Villa 1976 – Nick Joaquin 1982 – Carlos P. Romulo 1990 – Francisco Arcellana 1990 – Nestor Vicente M. Gonzalez 1990 – Carlos Quirino 1997 – Rolando S. Tinio 1997 – Levi Celerio 1999 – Edith L. Tiempo 2001 - F. Sionil Jose 2003 – Virgilio S. Almario 2003 – Alejandro Roces 2006 – Bienvenido Lumbera 2009 – Lazaro A. Francisco 2014 – Cirilo F. Bautista 2014 – Francisco Feliciano 2018 – Resil B. Mojares 2018 – Ramon Muzones (posthumous conferment) 2022 – Gemino Abad