MODULE-IN-LITERATURE-PICCIO.pdf

LESSON 1 INTRODUCTION TO THE STUDY OF PHILIPPINE LITERATURE TOPICS 1. What is Literature? 2. Importance or Relevance of Literature 3. Types of Prose 4. Elements of a Short Story 5. T...

LESSON 1 INTRODUCTION TO THE STUDY OF PHILIPPINE LITERATURE TOPICS 1. What is Literature? 2. Importance or Relevance of Literature 3. Types of Prose 4. Elements of a Short Story 5. Types of Poetry LEARNING OUTCOMES At the end of the lesson, you should be able to: 1. define Literature; Literature; 2. identify the different literary genres; 3. show sensitivity to human and moral values; 4. appreciate the roles of literature in our lives; and 5. sharpen the imagination by drawing pictures perceived in literary genres. TOPIC 1: WHAT IS LITERATURE? While history records past events, it does not include among its pages, the spirit of the nation. It is in literature where one can see the dreams, anxieties, joys, and problems of the people in a certain country. (Senatin, 2003) In order to know the history of a nation’s spirit, one must read its literature. Hence, it is, that to understand the real spirit of a nation, one must “trace the little rills as they course along down the ages, broadening and deepening into the great ocean of thought which men of the present source are presently exploring.” (Kahayon, et al., 2000) WHAT IS LITERATURE? Literature is derived from the latin word litera which means letter. It has been defined differently by various writers. Some of these are presented hereunder.  Literature is a piece of printed work related to the ideas and feelings of the people that may be true or just a product of the writer’s imagination. (Sayno, A. et.al, 2004) 1   Literature covers all the writings of a particular country, time, kind, etc. especially those valued for excellence of form and expression. (Webster’s Dictionary)  Literature refers to a composition that deals with life experiences. It tells stories, dramatizes situations, expresses emotions, analyzes, and advocates ideas. (Patron, 2002)  Literature is an eternally burning flame, exuding light that renders significance to civilization. (Castillo, et.al. 2002)  Because Literature deals with ideas, thought, and emotions of man, literature can be said to be the story of man. (Kahayon, et.al., 2000) Moreover, the study of Literature offers the following:  It stimulates the mind to awareness of human experiences.  It touches the heart.  It satisfies a person’s sense of beauty.  It educates, enlightens, and inspires. According to Saymo, et.al (2004), literature is divided into two large groups: Prose and Poetry. Prose is defined as a spoken written language without metrical regularity. Poetry, on the other hand, is the imaginative expression of emotion, thought, or narrative, frequently in metrical form and often using the figurative language. Poetry has traditionally been distinguished from prose by rhyme on the rhythmical arrangement of words. TOPIC 2: IMPORTANCE OR RELEVANCE OF LITERATURE 1. Material progress and political power may vanish; the spirit of nationalism may wane; but the true glories of literature withstand the forces of decay and decline. 2. Literature is an eternally burning flame, exuding light that renders significance to civilization. 3. In literature, likewise, there is conserved a heritage which gives meaning to a people’s ideals. It molds the mind of a people by preserving the experiences of the past in a cohesive and beautiful manner. 4. Literature mirrors the depth of a culture and manifests the truly creative genius of the race. 5. Literature, though seeming to hide timidly between the covers of a book, has frequently generated ideas that have had a tremendous effect. It has exhibited the potency of an explosive in its capacity for upsetting the social order. 2  6. Literature helps us grow both personally and intellectually. 7. It helps us to connect ourselves to the cultural context of which we are a part. 8. It helps us to develop mature sensibility and compassion for the condition of all living things, human, animal and vegetable. 9. Literature is one of the things that shape our lives; it makes us human. 10. It encourages us to assist creative talented people who are in need. ACTIVITY 1 People of all ages enjoy reading literary pieces such as poems, novels, short stories, essays, and the like. This may be due to fact that such reflect our real experiences in life. Based on your previous studies of different literary pieces, describe and define literature. Use the semantic map below. (Source: Interactive Reading-Responding to and Writing about Philippine Literature by Ida Yap Patron) 11. LITERATURE ACTIVITY 2 Analyze each of the following statement. Write TRUE if it is true and FALSE if it is incorrect then, replace/correct the word/phrase that makes it wrong. _____________ 1. Literature is an eternally burning flame. _____________ 2. Literature mirrors the depth of a culture. _____________ 3. Literature does not help us grow intellectually. _____________ 4. It hinders us to connect ourselves to the cultural context of which we are part. _____________ 5. Literature can be found in history. _____________ 6. Filipino Literature isolated from other literatures of the world. _____________ 7. History plays a role in the refinement of a nation’s literary works. 3  _____________ 8. Literature deals with any form of writing literature regardless of the quality. _____________ 9. Literature can be interpreted and imagined. _____________ 10. All writings must be narrated to be considered as literature. TOPIC 3: TYPES OF PROSE Prose comes from the Latin “prosa” which means “straightforward”. Prose can be written or spoken and has no formal metrical structure. It is basically ordinary language – the way people speak. 1. Novel. It is an extended fictional prose narrative, often including the psychological development of the central characteristics and of their relationship with a broader world. The modern novel took its name and inspiration from the Italina novella, the short tale of varied character, which became popular in the late 13th century. Novel is classified according to genres and subgenres such as the historical novel, detective fiction, fantasy and science fiction. E.g. Without Seeing the Dawn by Stevan Javellana 2. Short Story. It is an artistic form of prose fiction that is usually written in a narrative format which is centered on a single main incident whose aim is to produce a single dominant impression. Its qualities are economy, compression, brevity, and emphasis. E.g. The Laughter of My Father by Carlos Bulosan 3. Play. It is a piece of creative work presented on stage. It is usually divided into acts. E.g. Thirteen Plays by Wilfredo M. Guerrero 4. Legend. It is traditional or undocumented story about famous people, commonly religious in character and frequently posing problems of authenticity. E.g. The Bikol Legend by Pio Duran 5. Fable. It is a story in either verse or prose, in which animals or inanimate objects are given the mentality and speech of human beings to point out a lesson. E.g. The Monkey and the Turtle 6. Anecdote. It is a product of the writer’s imagination whose aim is to bring out lesson to the readers. It can be stories about animals or children. E.g. The Moth and the Lamp 7. Essay. It is a short piece of nonfiction dealing with a particular subject from a personal point of view. The best example of this is the editorial page of a newspaper. 8. Biography. It is an account of a person’s life. It may consist of factual details of a person’s life told in a chronological order, but has generally become a matter of interpretation as well as historical accuracy. E.g. Cayetano Arellano by Socorro O. Albert 9. News. It is a report of daily events in society, government, or in science and industry. 4 10. Oration. It is a piece of work relative to speech whose aim is to arouse the listener’s interest and emotion. TOPIC 4: ELEMENTS OF A SHORT STORY 1. Setting. It is an element that reveals where/when the story happened. 2. Characters. They are the performers of a story. It may refer to the hero or to the heroin of the story. It includes people playing important roles in a given story aside from the principal characters. 3. Plot. It refers to the storyline/sequence in a novel, play, film, or other work of fiction. It is traditionally a scheme of connected events. 4. Theme. It refers to the central idea or insight of any piece of literary work; a truth in life which is the heart of the story. It is usually implied rather than stated, e.g. good vs. evil (personal evil or dark forces in man’s environment such as disease, poverty, and war) or life process (childhood joys and fears or growing-up pains of teenagers). 5. Point of View. It is a device used by the writer in presenting his idea. 6. Conflict. It refers to the collision between one character and another, between a character and some elements in the world about him. It is the opposition of forces which ties one incident to another and makes the plot move. Conflict is not merely limited to open arguments; rather, it is any form of opposition that the main character faces. The preceding basic elements of a short story can be expanded as follows: (source: The Literatures of the Philippines by Ferdilyn C. Lacia et. al.) 1. Setting – the place or location of the action; provides the historical and cultural context for characters. It often can symbolize the emotional state of characters. 2. Plot – the development of a story in terms of beginning, middle, or end. The beginning contains the conflict which rises to a climax where the story turns before reaching a denouement or a resolution. A good plot is not based on twist and turn of events but how much is revealed about the characters and the theme of the story. Following are elements of plot: The introductory material, creates the tone, presents Exposition the characters, and presents other facts necessary to understand the story. Rising Action This is a series of events that builds from and during 5  conflict. It begins with the inciting forms and ends with the climax. The climax is the result of the crisis. It is the highest point of the story for the reader. Frequently, it is th Crisis moment of the highest interest and the greatest emotion—the point at which the outcome of the conflict can be predicted. These are the events after the climax which close the Climax story. These are the events after the climax which close the Falling Action story. This is the ending of the story which rounds out and Resolution concludes the action. It can resolve the conflict or close the actions. 3. Characterization - imaginary people created by the writer. They fall under two categories: a. Major Characters. These are almost always round or three- dimensional characters. They have good and bad qualities. Their goals, ambitions, and values change. A round character changes as a result of what happens to him or her and is referred to in literature as a “dynamic” character. A dynamic character grows or progresses to a higher level of understanding in the course of the story. Characters in literature are characterized as follows:  Protagonist - the main character at the center of the story.  Antagonist - the character or force that opposes the protagonist.  Foil - a character that provides a contrast to the protagonist. b. Minor Characters. They often provide support and illuminate the protagonist. These characters are flat or two-dimensional and have only one or two striking qualities. A usually all-good or all-bad. Such characters can be interesting or amusing in their own right, but they lack depth. Flat characters are sometimes referred to as “static” characters because they do not change in the course of the story. 4. Point of View - pertains to who tells the story and how it is told. It can sometimes indirectly establish the author’ or the person telling the story. He could be classified as: a. First Person. The narrator is a character in the story who can reveal only personal thoughts and feelings and what he or she sees and is told by other characters. He cannot tell us the thoughts of other characters. b. Objective or Third person. The writer uses “He/she”. The narrator in unnamed or unidentified (a detached observer). This narrator is not a character in the story and does not assume 6  character’s perspective. The narrator reports on events and lets the reader supply the meaning. c. All-knowing Narrator or Omniscient. The narrator is an all- knowing outsider who can enter the minds of more than one of the characters. 5. Conflict - the essence of fiction. It creates plot. The conflicts we encounter can ususally be identifies as one of four kinds: a. Man vs Man. This conflict pits one person against another. b. Man vs Nature. This conflict is a run-in with the forces of nature. On the one hand, it expresses the insignificance of a single human life in the cosmic scheme of things. On the other hand, it tests the limits of a person’s strength and will to live. c. Man vs Society. The values and customs by which everyone else lives are being challenged. The character may come to an end as a result of his or her own convictions. The character may, on the other hand, bring others around to a sympathetic pont of view, or it may be decided that society was right after all. d. Man vs Self or Internal Conflict. Not all conflicts involve other people. Sometimes, people are their own worst enemies. An internal conflict is a good test of a character’s values. Does he give in to temptation or rise above it? Does he demand the most from himself or settle for something less? Does he even bbother to struggle? The internal conflicts of a character and how they are resolved are good clues to the character’s inner strength. Often, more than one kind of conflict is taking place at the same time. In every case, however, the existence of conflict enhances the reader’s understanding of a character and creates the suspense and interest that make us continue reading. 6. Theme - the main idea or underlying meaning of a literary work. A theme may be major or minor. A major theme is an idea the author returns to time and again. It becomes one of the most important ideas in the story. Minor themes are ideas that may appear from time to time. It is important to recognize the difference between the theme of a literary work and the subject of a literary work. The subject is the topic on which an author has chosen to write. The theme, however makes a statement about or expresses an opinion on that topic. For example, the subject of a story might be war while the theme might be the idea that war is useless. The four ways in which an author can express themes are as follows: a. Themes are expressed and emphasized by the way the author makes us feel. By sharing feelings of the main character, you also share the ideas that ggo through his or her mind. b. Themes are presented in thoughts and conversations. Authors put words in their character’s mouths only for good reasons. One of these is to develop a story’s themes. The things a person 7  says are much on their mind. Look for thoughts that are repeated throughout the story. c. Themes are suggested through the characters. The main character usually illustrates the most important theme of the story. A good way at this theme is to ask yourself the question, “What does the main character learn in the course of the story?” d. The actions or events in the story are used to suggest theme. People naturally express ideas and feelings through their actions. One thing authors think about is what an action will “say”. In other words, how will the action express an idea or theme? 7. Foreshadowing - the author’s use of hints or clues to suggest events that will occur later in the story. Not all foreshadowing is obvious. Frequently, future events are merely hinted at through dialogue, description, or the attitudes and reactions of the characters. Foreshadowing frequently serves two purposes: TOPIC 5: TYPES OF POETRY 1. Narrative Poetry. It describes important details in life following the order of events either real or imaginary. They are classified as epic, metrical tales, metrical romance, and ballad. a. Epic. It is a narrative poem or cycle of poem dealing with some great deeds like the founding of a nation or the forging of national unity. They often use religious or cosmological themes. e.g. The Harvest Song of ALiguyon translated in English by Amador T. Daguio b. Metrical Tales. It is a type of narrative written in verse. It is classified as either ballad or metrical romance. e.g. Bayani ng Bukid by Al Perez Hero of the Fields by Al Perez c. Metrical Romance. It is also a type of metrical tale composed of a long rambling love story in verse. It is centered on the adventure of knights and lords and their royal ladies during the age of chivalry. It is heavily flavored with romance, fantastic events, supernatural occurrences, and magic. d. Ballad. It is a narrative type of poem that is metrically simple, sometimes unstrophic and unrhymed or dependent in assonance. It is concerned with some strongly emotional event. It is halfway between the lyric and the epic. 8 2. Lyric Poetry – means any short poem that is songlike. This is the most common type of poetry. Examples are: a. folk songs (awiting bayan) – are short poems intended to be sung. The common theme is love, despair, grief, doubt, joy, hope, and sorrow. E.g. Chit-chirit-chit b. haiku – a short, Japanese poem consisting of 17 syllables arranged in three lines. c. ode – a serious lyric poetry which commemorates important public events. It consists of stanzas with the same pattern of rhythm and rhyme. d. elegy – a common lyric that deals with life and death. It mourns the death of a loved one. E.g. The Lover’s Death by Ricardo Demetillo e. corridos (kuridos) – with measures of eight syllables (octosyllabic) and recited to martial beat. e.g. Ibong Adarna f. psalms (dalit) – a song praising God or the Virgin Mary containing a philosophy of life. g. awit (song) – with measures of twelve syllables (decasyllabic) and slowly sung to the accompaniment of a guitar or banduria. e.g. Florante at Laura ni Francisco Balagtas h. sonnet – a love poem which mostly consists of 14 lines and has a certain pattern of rhyme and rhythm. It has two types: Italian and Shakespearean e.g. Santang Buds by Alfonso P. Santos 3. Dramatic Poetry – tells stories like narrative poetry, but in dialogues of play rhymes, repeating rhythms, and other poetic elements. One of the most famous dramatic poets is the English playwright William Shakespeare. a. Comedy. The word comedy comes from the Greek term “komos” meaning festivity or revelry. This form usually is light and written with the purpose of amusing, and usually has a happy ending. b. Melodrama. This is usually used in musical plays with the opera. Today, this is related to tragedy just as the farce is to comedy. It arouses immediate and intense emotion and is usually sad but there is a happy ending for the principal character. c. Tragedy. This involves the hero struggling mightily against dynamic forces; he meets death or ruin without success and satisfaction obtained by the protagonist in a comedy. d. Farce. This is an exaggerated comedy. It seeks to arouse mirth by laughable lines; situations are too ridiculous to be true; the characters seem to be caricatures and the motives undignified and absurd. e. Social poems. This form is either purely comic or tragic and it pictures the life of today. It may aim to bring about changes in the social conditions. 9  Task/Activity ACTIVITY 1 Identify each of the following statement. Write your answer on the space provided before each number. ___________ 1. A spoken or written language without metrical regularity. ___________ 2. A piece of creative work presented on stage. It is usually divided into acts. ___________ 3. A short piece of non-fiction dealing with a particular subject from a personal point of view. ___________ 4. A short, Japanese poem consisting of 17 syllables arrange in three lines. ___________ 5. Refers to the central idea of any piece of literary work. ___________ 6. It is a device used by the writer in presenting his ideas. ___________ 7. A love poem which mostly consists of 14 lines and has a certain pattern of rhyme and rhythm. ___________ 8. A narrative poem or cycle of poem dealing with some great deeds. ___________ 9. A report of daily events in society, government, all in science and industry. ___________ 10. Considered as the story of man. ACTIVITY 2 Comprehensively discuss the following. Give examples. You may use extra sheets. a. The Two Major Literary Genres and their Sub-Genres 10  LESSON 2 REGION I – SELECTED LITERARY TEXT TOPICS 1. Bigong Pag-asa 2. My Father Goes to Court 3. Graduation LEARNING OUTCOMES At the end of the lesson, you should be able to: 1. recognize some literary works and literary figures of Ilocos; 2. familiarize themselves with the provinces of Region 1; 3. examine critically the guidelines in reading the poem, reading the selection, and annotating a text; 4. make use of the literary guidelines in doing some literary exercises and activities; 5. role play an interesting scene that may be taken from the selections; and 6. appreciate the values inculcated in every literary text. 6. REGION 1 Ilocos Sur Ilocos Norte Ilocos Iloko is derived from the word Ilocos, which uses either the letter c or k. The Ilocandia Region 1 comprises of Abra, Benguet, Ilocos Norte, Ilocos Sur, La Union, Mountain Province, and Pangasinan. It has the following cities: Baguio, Dagupan, Laoag, and San Carlos. Iloko also iluko is the language spoken by the Ilokanos sometimes spelled Ilocanos or the inhabitants of these provinces and form the third largest linguistic group in the Philippines, after Tagalogs and Cebuanos. The Ilocos region is located in the northwestern coast of Luzon. It is a narrow strip of land, with the China Sea to the west and the Ilocos mountain range to the east. Basically agricultural, its generally arid and barren soil has made the Ilocanos one of the most migrant of Filipinos. They are found in many parts of the Philippines, in Hawaii and in the West Coast of the United States. Iloko Literature Among the writers associated with Region 1 are Crecencia Alcantara, Edilberto Angco, Rogelio Aquino, Manuel Arguilla, Hermogenes Belen, Crispina Bragado, Jose Bragado, Leona Florentino, Marcelino Foronda Jr., Juan S. P. Hidalgo, F. Sionil Jose, 11 Jacinto Kawili, Peter La Julian, Benjamin M. Pascual, Sinanar Roblanes- Tabin, Agustin D. C. Rubin, and Carlos Bulosan. Among the literary forms found in Region I are burbutia, pagsasao, arikenken, dalot, daniw, dung-aw, and sudario. TOPIC 1: BIGONG PAG-ASA Leona Florentino Ipinanganak si Leona Florentino sa Villa Fernandina (ngayon ay Vigan), Ilocos Sur noong ika-19 ng Abril 1849 at namatay noong ika-4 ng Oktubre 1884. Siya ang nangungunang makata ng kanyang panahon na pinatunayan ng pagkalathala ng kanyang mga tula sa Bibliotheque International de Ouvres de Femmes noong 1889. Na-exhibit din ang kanyang mga likha sa Exposicion General Filipinas na ginanap sa Madrid noong 1887. Binansagan siya na “Inang Feministang Makata ng Pilipinas”. (Source: Philippine Literature by Linda R. Bascarra et. al.) BIGONG PAG-ASA sinulat ni Leona Florentino salin ni Isagani R. Cruz (1) Anong saya at ginhawa kung may nagmamahal dahil may makikiramay sa lahat ng pagdurusa. (2) Ang masama kong kapalaran walang kapantay- wala akong alinlangan- sa dinaranas sa kasalukuyan. (9) Kahit na ako ay magmahal sa isang musa wala namang hinuha na ako’y pahahalagahan. (13) Isumpa ko kaya ang panahon nang ako’y ipinanganak higit na mas masarap na mamatay bilang sanggol. (17) Nais ko mang magpaliwanag dila ko’y ayaw gumalaw nakikita kong malinaw pagtatangi lamang ang matatanggap. 12  (21) Ligaya ko sana’y walang kapantay sa kaalamang ikaw ay minamahal isusumpa ko at patutunayan para sa iyo lamang ako mamamatay. DISCUSSION QUESTIONS 1. Describe the poem’s tone. 2. Characterize the person speaking in the poem. 3. How did the poet assess the situation? 4. Are economic status, religious affiliation, and ethnic status factors to consider in loving someone? Why or Why not? 5. To what poetic type does the poem belong? Give its characteristics. Literary Review: Reading the Poem 1. Read the poem more than once. This will help you get its full meaning. 2. Keep a dictionary to learn the meanings of unfamiliar words. 3. Read to hear the sounds of the words in your mind. Read as slowly as possible. In ordinary reading, lip reading is a bad habit; with poetry it is not. 4. Be attentive to what the poem is saying. 5. Practice reading poems aloud. 6. Read it affectionately, but not affectedly. 7. Read the poem slow enough to make each word clear and distinct. 8. Read the poem so that the rhythmical pattern is felt, not exaggerated. (Source: Interactive Reading-Responding to and Writing about Philippine Literature by Ida Yap Patron) Task/Activity ACTIVITY 1 Individually, discuss and share to the class your saddest experience in life in three minutes. Then group yourselves into five and discuss the similarities and/differences between your saddest experiences. Then, present your output in the class. ACTIVITY 2 Read the poem and follow the ways on how to read a poem then, give the message of the poem “Bigong Pag-asa” by Leona Florentino. ______________________________________________________________ ____________________________________________________________________ 13  ____________________________________________________________________ ____________________________________________________________________ ACTIVITY 3 Divide the class into two and prepare for the composition of your own poem, it should have the same theme with the poem “Bigong Pag-asa”. Following the literery guidelines, as a team, you will create your own poem. Your team must come up with a title and the first member of the group will write the first line of the first stanza, followed by the other team members until the last member of the group, your poem must have four-five stanzas having four lines each. TOPIC 2: MY FATHER GOES TO COURT Carlos Bulosan Carlos Bulosan was the most popular Filipino short story writer in the United States. He was born in Binalonan, Pangasinan in 1914. He wrote for the Saturday Evening Post and was included in American anthologies and listed in Who’s Who in America. Vocabulary List: enchanting – captivating; delightful bent double – to curve, to twist the body in midsection or stomach. grotesque – distorted; misshapen; out of place seals – fish-eating marine mammal with a sleek body adapted for swimming and living in cold regions. morose – gloomy MY FATHER GOES TO COURT Carlos Bulosan When I was four, I lived with my mother and brothers and sisters in a small town on the Island of Luzon. Father’s farm had been destroyed in 1918 by one of our sudden Philippine floods, so for several years afterwards we all lived in the town, though he preferred living in the country. We had as next-door neighbor a very rich man, whose son and daughter seldom come out of the house. While we boys and girls played and sang in the sun, his children stayed inside and kept the windows closed. His house was so tall that his children could look in the windows of our house and watch us as we prayed, or slept, or ate, when there was any food in the house to eat. Now, this rich man’s servants were always frying and cooking something good, and the aroma of the food was wafted down to us from the windows of the big house. We hung about and took all the wonderful smell of the food into our beings. Sometimes, in the morning, our whole family stood outside the windows of the rich 14 man’s house and listened to the musical sizzling of thick strips of bacon or ham. I can remember one afternoon when our neighbor’s servant roasted three chickens. The chickens were young and tender and the fat that dripped into the burning coals gave of an enchanting odor. We watched the servants turn the beautiful birds and inhaled heavenly spirit that drifted out to us. Some days the rich man appeared at the window and glowered down at us. We were all healthy because we went out in the sun every day and bathed in the cool water of the river that flowed from the mountains into the sea. Sometimes we wrestled with one another in the house before we went out to play. We were always in the best of spirits and out laughter were contagious. Other neighbors who passed by our house stopped in our yard and joined us in laughter. Laughter was our only wealth. Father was a laughing man. He would go into the living room and stand in front of the tall mirror, stretching his mouth into grotesque shapes with his fingers and making faces at himself; then he would rush into the kitchen, marring with laughter. There was always plenty to make us laugh. There was for instance, the day one of my brothers came home with a small bundle under his arm, pretending that he brought something good to eat, maybe a leg of lamb or something as extravagant as that, to make our mouths water. He rush to Mother and threw the bundle into her lap. We all stood around, watching Mother undo the complicated strings. Suddenly a black cat leaped out of the bundle and run wildly around the house. Mother chased my brother and beat him with her little fists, while the rest of us bent double, choking with laughter. Another time one of my sisters suddenly started screaming in the middle of the night. Mother reached her first and tried to calm her. My sister cried and groaned. When Father lighted the lamp, my sister stared at us with shame in her eyes. “What is it?” Mother asked. “I’m pregnant!” she cried. “Don’t be a fool!” Father shouted. “You are only a child. “Mother said. “I’m pregnant, I tell you!” she cried. Father knelt by my sister. He puts his hand on her belly and rubbed it gently. “How do you know you are pregnant?” he asked. “Feel it!” my sister cried. We put our hands on her belly. There was something moving inside. Mother was shocked. “Who’s the man?” she said. ”There’s no man,” my sister said. “What is it, then?” Father said. Suddenly my sister opened her blouse and a bullfrog ripped out. Mother fainted. Father dropped the lamp, the oil spilled on the floor, and my sister’s blanket caught fire. One of my brothers laughed so hard he rolled on the floor. When the fire was extinguished and Mother was revived, we return to bed and tried to sleep, but Father kept on laughing so load we could not sleep anymore. Mother 15 got up again and lights the oil lamp; we rolled up the mats on the floor and began dancing about and laughing with all our might. We made so much noise that all our neighbors except the rich family came into the yard and joined us in loud, genuine laughter. It was like that four years. As time went on, the rich man’s children became thin and anemic, while we grew even more robust and full of life. Our faces were bright and rosy, but theirs pale and sad. The rich man started to cough at night; then he coughed day and night. His wife began coughing, too. Then the children started to cough, one after other. At night, their coughing sounded like the barking of a herd of seals. We hung outside their windows and listened to them. We wonder what had happened. We knew that there are not sick from lack of nourishing food, because they were still always frying something delicious to eat. One day the rich man appeared at a window and stood there along time. He looked at my sisters, who had grown fat with laughing, then at my brothers, whose arms and legs were like the molave, which is the sturdiest tree in the Philippines. He banged down the window and ran through his house, shutting all the windows. From that day on, the window of our neighbor’s house were always closed. The children did not come outdoors anymore. We would still heard the servants cooking in the kitchen and no matter hoe tight the window were shut, the aroma of the food came to us in the wind and drifted gratuitously into our house. On morning a policeman from the presidencia came to our house with a sealed paper. The rich man had filed a complaint against us. Father took me with him when he went to the town clerk and asked him what it was about. He told Father the man claimed that four years we had been stealing the spirit of his wealth and food. When the day came for us to appear in court, Father brushed his old Army uniform and borrowed a pair of shoes from one of my brother. We were the first to arrive. Father sat on a chair in the center of the courtroom. Mother occupied a chair by the door. We children sat on the long bench by the wall. Father keep jumping up from his chair and stabbing the air with his arms, as though he were defending himself before an imaginary jury. The rich man arrived. He had grown old and feeble, his face scarred with deep lines. With him was his younger lawyer. Spectators came in and almost filled the chairs. The judge entered the room and sat on a high chair. We stood up in a hurry and then sat down again. After the courtroom preliminaries, the judge looked at Father. “Do you have a lawyer?” he asked. “I don’t need any lawyer, judge,” he said. “Proceed,” said the judge. The rich man’s lawyer jumped up and pointed his finger at father. “Do you or do you not agree that you have been stealing the spirit of the complainant’s wealth and food?” “I do not, “Father said. 16  “Do you or do you not agree that while the complainant servant cooked and fried fat legs of lamb or young chicken breasts, you and your family hung outside his windows and inhaled the heavenly spirit of the food?” “I agree, “Father said. “Do you or do you not agree that while the complainant and his children grew sickly and tubercular you and your family became strong of limb and fair of complexion? “I agree,” Father said. “How do you account for that?” Father got up and paced around, scratching his head thoughtfully. Then he said, “I would like to see the children of the complainant, Judge.” “Bring in the children of the complainant.” They came shyly. The spectators covered their mouths with their hands. They amazed to see the children so thin and pale. The children walked silently to a bench and sat down without looking up. They stared at the floor and moved their hands uneasily. Father could not say anything at first. He just stood by his chair and looked at them. Finally he said,” I should like to cross-examine the complainant.” Proceed.” “Do you claim that we stole the spirit of your wealth and become a laughing family while yours became morose and sad?” Father asked. “Yes.” “Do you claim that we stole the spirit of your food by hanging outside your windows when your servant cooked it?” Father asked. “Yes.” “Then we are going to pay you right now,” Father said. He walked over to where we children were sitting on the bench and took my straw hat off my lap and began filling it up with centavo pieces that he took out of his pockets. He went to Mother, who added a fistful of silver coins. My brothers threw in their small change. “May I walk the across the hall and stay there for a few minutes, Judge?” Father asked. “As you wish.” “Thank you, “Father said. He strode into the other room with in his hands. It was almost full of coins. The doors of both rooms were wide open. “Are you ready?” Father called. “Proceed,” the Judge said. The sweet tinkle of the coins carried beautifully into the court room. The spectators turned their faces toward the sound with wonder. Father came back and stood before the complaint. “Did you hear it?” he asked. 17  “Hear what?” the man asked. “The spirit of the money when I shook this hat?” he asked “Yes.” “Then you are paid,” Father said. The rich man opened his mouth to speak and fell to the floor without a sound. The judge even came down from his high chair to shake hands with him. “By the way,” he whispered, “I had an uncle who died laughing.” “Do you like to hear my family, Judge?” Father asked. “Yes I do”, the judge replied. “Did you hear that, children?” Father said. My sisters started it. The rest of us followed them and soon the spectators were laughing with us, holding their bellies and bending over the chairs. And the laughter of the judge was the loudest of all. DISCUSSION QUESTIONS 1. Compare the two families in the story. 2. Cite instances that made the poor family happy and contented. 3. Describe the author’s father. What was the complaint filed against him? How did he depend himself? 4. Was the judge just enough in his decision? Justify your answer. Literary Review: Guidelines for Reading 1. Observation for basic understanding. a. Explain words, situations, and concepts. Write down words which are new and unclear. Use your dictionary. b. Ask these questions: 1. Where do the actions take place? 2. What do they show? 3. Who is/are involved? 4. Who is the major figure? 5. Why is he/she the major figure? 6. What are their concerns? 7. What do they do? 8. Who says what to whom? 9. How do the speeches advantage the action and reveal their characters? c. Trace development patterns. Make an outline for the main idea. What conflicts appear? Do these conflicts exist between people/groups, or ideas? How does the author resolve these? Does one side/idea emerge as the “winner” Why? How do you feel towards the winner? The loser? d. Write messages that are important. Memorize them if you can. e. Note any questions for further study. 18  2. Notes on First Impressions a. In your marginal notation, record you first responses to the work. What did you think was funny, memorable, noteworthy, or otherwise striking? Did you laugh, smile, worry, get scared. Feel a thrill, learn a great deal, feel proud, find a lot to think about? b. Describe interesting characterizations, events, techniques, and ideas. Use your own words when writing your explanation. (Source: Interactive Reading-Responding to and Writing about Philippine Literature by Ida Yap Patron) Task/Activity ACTIVITY 1 The class will be grouped into five and each group must choose one interesting scene from the story My Father Goes to Court and prepare a role play and present it in class. ACTIVITY 2 With reference to the selection “My Father Goes to Court” by Carlos Bulosan give the information being asked in the following questions. Work in pair. 1. Where do the actions take place? 2. What do they show? 3. Who is/are involved? 4. Who is the major figure? 5. Why is he/she the major figure? 6. What are their concerns? 7. What do they do? 8. How do the speeches advantage the action and reveal their characters? 9. What conflicts appear? 10. Do these conflicts exist between people/groups, or ideas? 11. How does the author resolve these? 12. Does one side/idea emerge as the “winner” Why? 13. How do you feel towards the winner? The loser? 19  TOPIC 3: GRADUATION Francisco Sionil Jose Vocabulary List: doffed – an act of removing one’s hat – to take off paunched – a large, round stomach coops – an enclosure or hut in which poultry is kept loafers – lazy persons who avoid work and waste time portentously – very serious and significant. sieving basket – a meshed utensil; used to separate solid objects from liquids. raucously – unpleasantly loud and hoarse. GRADUATION F. Sionil Jose I always knew that someday after I finished high school, I’d go to Manila and to college. I had looked ahead to the grand adventure with eagerness but when it finally came; my leaving Rosales filled me with a nameless dread and a great, swelling unhappiness that clogged my chest. I could not be sure now. Maybe it was a proud, stubborn girl with many fixed ideas and she even admonished me: “Just because you have so much to give does not mean all the things you give will be accepted.” It was until after sometime that I understood what she meant and when I did, I honored her all the more. She was sixteen, too, lovely like the banana when it’s in bloom. I did not expect her to be angry with me when I bought her a dress for it wasn’t really expensive. Besides, as the daughter of one of Father’s tenants, she knew me very well. Better perhaps than any of the people who live in Carmay, the young folks who always greeted me politely, doffed their straw hats then, closed-mouthed, went their way. I always had silver coins in my pockets but that March afternoon, after counting all of them and the stray pieces, too that I had tucked away in my dresser I knew I needed more. I approached Father. He was at his working table, writing on a ledger while behind him, one of the new servants stood erect, swinging a palm leaf fan over Father’s head. I stood beside Father, watched his shirt down with sweat. When he finally noticed me, I couldn’t tell him what I wanted. He unbuttoned his shirt down to his paunch. “Well, what is it?” 20  “I’m going to take my classmates this afternoon to the restaurant, Father,” I said Father turned to the sheaf of papers before him. ”Sure, he said, you can tell Bo King to take off what you and your friends can eat from his rent this month.” It was March and the high school graduation was but a matter of days away. “I also need a little money, Father,” I said. “I have to buy something.” Father nodded. He groped for his keys in his drawer then he opened the iron money box beside him and drew out a ten- peso bill. He laid it on the table “I’m going to buy ….” I tried to explain but with a wave of his hand, he dismissed me. He went back to his figures. It was getting late. Sepa, our oldest maid, was getting the chickens to their coops. I hurried to the main road which was quite deserted now except in the vicinity of the round cement embankment in front of the municipal building where loafers were taking in the stale afternoon sun. The Chinese storekeepers who occupied Father’s building s had lighted their lamps. From ancient artesian well at the rim of the town plaza, the water carries and servant girls cackled while they waited for their turn at the pump. Nearby, traveling merchants has unhitched their bull carts after a whole day of traveling from town to town and were cooking their supper on board, blackened stones that littered the place. At Chan Hai’s store there was a boy with a stick of candy in his mouth, a couple of men drinking beer and smacking their lips portentously, and a woman haggling over a can of sardines. I went to the huge bales of cloth that slumped in one corner of the store, picked out the silk, white cloth with glossy printed flowers. I asked Chan Hai, who was perched on a stool smoking his long pipe, how much he’d ask for the material I had picked for a gown. Chai Hai peered at me in surprise; “ten pesos, he said.” With the package, I hurried to Carmay. In the thickening dusk the leaves of the acacias folded and the solemn; mellow chimes of the Angelus echoed to the flat, naked stretches of the town. The women who had been sweeping their yards paused; children reluctantly hurried to their homes for now the town was draped with a dreamy stillness. Teresita and her father lived by the creek in Carmay. The house was on a sandy lot which belonged to Father; it was apart from the cluster of huts peculiar to the village. Its roof, as it was with the other farmer’s home, was thatched and disheveled, its walls were of battered buri leaves. It was prominently alone near the gulley that had been widened to let bull carts, and carriages through when the bridge was washed away. Madre de cacao trees abounded in the vicinity but offered scanty shade. Piles of burnt rubbish rose in little mounds in the yard and a disrupted line of ornamental San Francisco fringed the graveled path led to the house. Teresita was sampling the both of what she was cooking in the chicken. There was dampness in her brow and redness in her eyes. “What are you doing here at this hour?” she confronted me. In the glow of the cracking stove fire, she looked genuinely surprised. 21  I laid my package on the wooden table cluttered with tin plates and vegetables. “It’s for you.” I said, my face burned like kindling wood. “I hope you like it.” Her eyes still on me, she opened the package. When she saw what it was, she gave a tiny, muffled cry. She shook her head, wrapped it back then gave me it to me. “I can’t.” she said softly. “It does not seem right for me to accept it.” “But you need it and I’m giving it to you, “I said firmly, the burning in my face eased at last. “Is there anything wrong in giving one a gift?” And that was when she said,” There are things you just can’t give away such as you are doing now…” I think it all started that evening when we were in the third year and Teresita recited a poem. It was during the graduation exercise and she was the only junior in the program. I can’t remember distinctly what the piece was about except that it was something that tugged at my heart. She spoken of faith and love and as she did, clamminess gripped me, smothered mw with a feeling I never felt before. I recall her edged resonant voice cleaving the hushed evening I was silently one with her. We didn’t go home immediately after the program for a dance in honor of the graduates followed. Miss Santillan, who was in charge of the refreshments, asked me to wait for her so she would have company when she’d go home. Teresita helped serve the refreshments as usual. I sat on the one of the school benches after I got tired watching the dancers file in and out, giggling. When most of them had eaten, Teresita asked permission from Miss Santillan to leave. “My father, Ma’am,” she said. ‘He doesn’t want me to stay out very late because of my cough. Besides, I have worked to do early tomorrow.” “Going home alone?” Miss Santillan asked. “I’m not afraid,” she said resolutely. I stood up, strode past the table laden with an assortment trays and glasses. From the window, I saw the moon dangling over the sprawling school building like a huge sieving basket and the world was us, pulsating and young. “I’ll walk with you. I said. She protested at first but Miss Santillan said it was best I went along with her. After Miss Santillan had wrapped up some cakes for her, we descended the stone steps. The evening was clean and cool like a newly washed sheet. It engulfed us and we didn’t speak for some time. “I live very far,” she reminded me later. She drew a shabby shawl over her thin, wasted shoulders. “I know,” I told her, “I’ve been there.” “You’ll be very tired.’’ “I’ve walked longer distances. I can take Carmay in a run.” I tried to impress her. 22  “I’m very sure of that.” she said.” You are strong. Once, I was washing in the river and you outraced the others.” ‘I didn’t see you,” I said. “Of course,” she said bitingly, “You never notice the children of your tenants, except those who serve in your house.” Her remark stunned me and I couldn’t speak at once. “That is not true, “I said meekly. “I go to Carmay often.” She must have realized that she had hurt me for when she spoke again, she sounded genuinely sorry. ”That was not what I meant, “she said. “And I didn’t say that to spite you.” Again, silence. The moon drifted out of the clouds and lighted up the dusty mud. It glimmered on the parched fields and on the Burt palms that stood like hooded sentinels. Most of the houses we passed had long blown out their kerosene lamps. Once in a while, a dog stirred in its bed of dust and growled at us. “You won’t be afraid going home alone?” she made light after a while. “There is a giant ‘Capri’ nears the bridge which comes out when the moon is full,” I said, “I’d like to see it. I’ve never seen a ghost.” ”When I die,” she laughed, “I’ll appear before you.” “You’ll be a good ghost and I won’t be afraid,” I said. On we trudged. We talked more about ourselves, about to where the row of homes receded and finally reached her house near the river that murmured as it cut a course over reeds and shallows. When we went up the house, her father was already asleep, In fact, he was snoring heavily. At the door, she bade me goodnight and thanked me. Then slowly, she closed the door behind her. So the eventful year passed, the rains fell, the field become green and the bananas in yard blossomed. The land became soggy and the winds lashed at Rosales severely, bowling over score of flimsy huts that stood on lean bamboo stilts. Our house didn’t budge in the mightiest typhoon: with us, nothing changed. The harvest with its usual bustle passed, the tenants – among who was Teresita’s father – filled our spacious storehouse with their crops. The drab, dry season with its choking dust settled oppressively and when March came, it was time for Teresita and me to graduate. Throughout a whole, hot afternoon we rehearsed our part for the graduation program. We would march to the platform to take our high school diplomas. When the sham was over, Teresita and I rested on the steps of the crude school stage. She nudged at me: “I will not attend the graduation exercises. I can say I had a fever or my cough got worse – which is the truth anyway.” “Why?” “No one would miss me in the march if I don’t come. 23  “You are foolish,” I said. “I can’t have my picture, too, I suppose.” “I don’t believe you.” “I can’t come. I just can’t she repeated with finally. She didn’t have to say anything more. I understood, and that afternoon I asked money from Father to buy a graduation dress for Teresita. And that same week, Father ordered Teresita’s father, who farmed a lot in the delta in Carmay, to vacate the place as Father had sold it. Teresita’s father had to settle in the hills of Balungao where there were small, vacant parcels, arable patches in the otherwise rocky mountainside. There, he might literally scratch the earth to eke out a living. April, and a hot glaring sun filtered rudely through the dusty glass shutters and formed a dazzling piddle on the floor where Father lounged. The dogs that lolled in the shade of the acacia trees struck out their tongues and panted. The smudges of grass in the plaza were a stubbly brown; the sky was cloudless and azure. From the kitchen window, Sepa, the maid, asked me to come up the house. Father, she said, had something important to tell me. He was at the balcony reading and fanning himself languidly. The question he asked stunned me. “When do you want to leave for the city?” For sometime I couldn’t speak; the summer vacation has just started and the college opening was two months away. “It all depends upon you, Father.” “You’ll leave tomorrow then,” he decided abruptly. “But, Father,” I object,” June is still weeks away. College doesn’t start till then.” “I know,” Father said. “But I want you to get well acquainted with your cousins there. You don’t know much of each other. In the street, the heat waves rose up like little angry snakes, all swallowed up by the dust that fluffed high when a passenger jeep lumbered along. Father’s arid voice: “You will grow older. “He hammered this notion into me. “You will grow older and realized how important this thing that I’m doing is. You will leave here many faces. You will outgrow boyish whims. In the city, you’ll meet new friends.” I did not speak. “The time will come when you will return to me-a man,” “Yes father.” I said as he, having spoken, went on with his reading. The dark came quickly the sun sank behind the coconut grooves of Tomana and disappeared below the jagged horizon. Before the twilight thickened, I left the house and journey into a world where the houses were decrepit, where the urchins were clad most of the time in unkempt rags and when a stranger would stumble in their midst, 24 they’d gape at him with awe. Beyond the squat cluster of homes came the barking of dogs lying in the dust. I went up the ladder that squeaked and when Teresita’s father recognized me in the light of the flickering kerosene lamp hanging from a rafter, a shadow of a scowl crept into his leathery face. When I said, “Good evening,” He retained his sour mien. He returned my greeting, and then he walked out and left us alone. “I’m leaving,” I began. Teresita wiped the soap suds from her hands. She has just finished the dishes. ‘I’ll go to the city tomorrow – to study, Father is sending me there.” She said nothing; she just looked at me. She walked to the half-opened window that bared the benighted banks of the river and the clack fields. “We’d soon leave, too.” She murmured, holding the window sill. “Your father sold this place, you know.” “I’m very sorry.” “There’s nothing to be sorry about.” “Yes, there are many things.” I said. “Won’t you go to school anymore? “I asked. She was silent again and I didn’t prod her for an answer. ‘What course are you going to take?” she asked after a while. “I’m not very sure,” I said. ‘But maybe, I’ll follow the advice you gave me.” “Please do,” she said. “Please be a doctor.” With conviction: “You can do much if you are one and you are so good.” I didn’t know what else to say. “Don’t write to me when you are there,” she said. “But I will,” “It will do no good,” she said insisted. ‘Besides, it will not be necessary. Thank you very much for coming to see me.” “I have to, “I said. She followed me to the door. The floor creaked under my weight. She called my name as I stepped down the first ring and I turned momentarily to catch one last glimpse of her young fragile face and on it, the smile, half born, half free. ‘Please don’t write,” she reiterated, wiping the soap suds on her hands with a piece of rag. “It’s useless, you know.” “But I will,” I said, and in my heart, I cried. “I will” “I’d be much happier and so would Father if you didn’t.” she pressed on. “And besides, I wouldn’t be able to answer your letters. Stamps cost….” ‘I’ll send you…” I checked myself quickly. The smile on her face grew wan but, anyway she went down the flight and walked with me as far as the gate. 25  The children who played raucously nearby stopped and ogled at us. And in the other houses, though it was very dark. I knew the farmers and their wives watched me leave, knowing how it was going to be with us, how I would leave Teresita and thus make Father happy, how, I will forget everything: the orchids I gave her that now adorned her window and which, I am sure, would someday wither, the books I lent her which she rapaciously read, the neat eager laughter that welled from the depths of her. I would forget, too, how we hummed to the music of the tow’s brass band and walked one sultry night from the high school to Carmay. The night was vast and deep and the starts were hidden by clouds. In the darkness, I couldn’t see the bananas along the path, and the bright purple of their blooms. DISCUSSION QUESTIONS 1. What are the phrases sentences which show that the story happened long time ago? 2. To what object did the narrator compare his beloved Teresita? Was the comparison fitting? 3. Point out the social distance in which separates the two characters. 4. What was his gift? Why did Teresita refuse to accept it? 5. If you were the main character, who would you please, Teresita or your father? Why? 6. How did the story end? Give further explanation of the last paragraph. Literary Review: Annotating a Text If you own your book, mark it up by highlighting, underlining or making marginal notes about what pleases you, what interests you, what pleases you or bores you. Think of your possible responses, asking yourself as you reread the prose. One kind of annotation is a question mark in the margin, jotted down in order to indicate uncertainty about the meaning of the word. You should have a dictionary on hand to help you know the precise meanings and implications of the writer’s words in order to feel and appreciate the effect he or she is trying to create.The more you become aware of how richly meaningful words can be in a literary text, the more sensitive you will be about the words you use in your prose. (Source: Interactive Reading-Responding to and Writing about Philippine Literature by Ida Yap Patron) ACTIVITY 3 Write the essence of Graduation in the life of a parent or a student. ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ 26  LESSON 3 REGION II – SELECTED LITERARY TEXT TOPIC 1. THE NUNUK ON THE HILL (NU NUNUK DU TUKUN) ROVINCES IN REGION 1 LEARNING OUTCOMES At the end of the lesson, you should be able to: 1. identify the provinces in Region II; 2. analyze the poem; 3. compare and contrast the natives of Mindoro and Batanes Provinces; 4. have a full grasp on how to read and understand a poem; 5. describe the topography of Batanes; and 6. share ideas and insights about the meaning and significance of personally created poems. REGION II Batanes Cagayan Isabela Nueva Vizcaya Quirino Cagayan Valley Cagayan Valley is one of the regions of the Philippines, also designated as Region II. It is composed of five provinces, namely: Batanes, Cagayan, Isabela, Nueva Vizcaya, and Quirino. Its regional center is Tuguegarao City, the country’s hottest place. Most of the region lies in a large valley in northeastern Luzon, between the Cordilleras and the Sierra Madre mountain ranges. Cagayan River, the country's longest river runs through its center and flows out to Luzon Strait in the north, in the town of Aparri, Cagayan. The Babuyan and Batanes island groups that lie in the Luzon Strait also belong to the region. The majority of people living in Cagayan are of Ilocano descent, mostly migrants coming from the Ilocos Region. Originally, the more numerous group were the Ybanags, who were first sighted by the Spanish explorers and converted to Christianity by missionaries. This is why the Ibanag language spread throughout the area prior to the arrival of Ilocanos. Aside from Ilocanos and Ybanags, Malauegs, Itawits, Gaddangs, groups of nomadic Aetas, as well as families of Ibatans who have assimilated into the Ybanag- Ilocano culture make Cagayan their home. More recently, a new group from the south, the Muslim Filipinos, have migrated to this province and have made a community for themselves. In addition to this, Tagalog-speaking people from the Southern Luzon have 27 also settled in the area. Because of this influence from other majority groups like the Ilocano from the west and the Tagalog from the south, the smaller ethnic groups living in the valley could potentially go extinct. Among the literary forms found in Region 2 are baliwayway, dimolat, laji, unoni. Vocabulary List: twig- a small branch or shoot from a tree grief- intense sorrow orphan- a child whose parents are both dead or who has been abandoned by his parents breaker-a large, usually white-capped wave that is cresting or breaking especially onto the shore nunuk- a small crawling creature or insect NU NUNUK DU TUKUN (1) Nu nunuk du tukun, minuhung as kadisi na; (2) ichapungpung diya am yaken u nilangan n. (3) Kapaytalamaran ava su avang di idaud (4) ta miyan du inayebngan na, ta miyan du inayebngan na. (5) Nu itanis ko an nu an didien ko; (6) ta nu taaw aya u suminbang diyaken; (7) na maliliyak a pahung as maheheyet a riyes. (8) u minahey niya diyaken Informant: Catalina Faranilo Hontamin THE NUNUK ON THE HILL (1) The nunuk on the hill shot forth the leaves and twigs; (2) then suddenly all its branches fell, and I under it. (3) On what is left I cannot watch boats on the sea (4) for I stand on the side away from the sea. (5) I weep in my grief; (6) it was the sea that made me an orphan; (7) the sad news came to me in the roar of the breakers, (8) from the voice of the mighty sea currents. DISCUSSION QUESTIONS 1. Have you ever met an Ivatan? If yes, describe him/her. 2. What is a nunuk? 3. Who is speaking in the poem? 4. How is the persona orphaned? 28  5. Pick out words that help create the mood of the poem. 6. Based from the poem, determine the topography of Batanes. 7. To what poetic genre does the text belong? Give its characteristics. Literary Review: Reading and Understanding A Poem To understand a poem, you need to understand the poem’s meaning and organization. As you read and reread the poem, study the following: 1. The Title. The title is always informative. 2. The Speaker or the Persona. The one speaking in the poem which may either be in the first of third person. 3. Meaning of all words (familiar and unfamiliar). You will need to consult dictionaries, encyclopedia and other sources until you gain a fairly good grasp of the poem’s content. 4. Setting and Situation. Some poems establish their setting and circumstances vividly. However, not all poems are so clear, you should learn as much as you can about setting and situation in every poem you read. 5. Basic form and Development. Poems maybe in a form a narrative, personal statements or speeches to another person. They maybe in sonnet form, or may contain stanzas, each of which is unified by a particular action or thought. Try to determine the form and to trace the way in which the poem unfolds, part by part. (Source: Interactive Reading-Responding to and Writing about Philippine Literature by Ida Yap Patron) Task/Activity ACTIVITY 1 1. Read the following poems: Goodbye means a packed suitcase … an empty house … a broken heart … a promise … an oblivion. A prayer is loud whisper … an intense plea … a source of strength … a warm comfort … a covenant. 29  2. Make your own list poems on any of these suggested topics. You are free to choose your own topic if you want to. God is… Love is… Family is… Gift is… Song is… Friend is… 3. Group yourselves into six and share the meaning and significance of your poem. ACTIVITY 2 Match column A to Column B. Write the letter of the correct answer on the space provided before each number. Column A Column B A. small crawling creature or insect B. intense sorrow ___1. form of poem C. the writer’s choice of words ___2. nunuk D. Region II ___3. breaker E. the one speaking in the poem which ___4. speaker or persona may either be in the first of third person ___5. Ivatan F. a source of strength ___6. twig G. sonnet ___7. grief H. native of Batanes ___8. prayer I. a child whose parents are both dead or who has been abandoned by his parents ___9. Cagayan Valley J. a large, usually white-capped wave that is ___10. diction cresting or breaking especially onto the shore K. a small branch or shoot from a tree ACTIVITY 3 Describe and analyze the poem “The Nunuk on the Hill” in terms of the following aspects. (Present your output in the class.) Title ____________________________________________________________ 30 ____________________________________________________________ ___________________________________________________________ Person speaking ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Diction ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Setting ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ Form and Development ____________________________________________________________ ____________________________________________________________ ____________________________________________________________ 31  LESSON 4 CORDILLERA ADMINISTRATIVE REGION – SELECTED LITERARY TEXT TOPIC 1. HUDHUD HI ALIGUYON: AN IFUGAW HARVEST SONG LEARNING OUTCOMES At the end of the lesson, you should be able to: 1. familiarize themselves with the topography, provinces, and literature of CAR; 2. identify the characteristics of an epic; 3. describe the characters and their traits; 4. present the plot in the epic; 5. debate on relevant issues; 6. conceptualize the character portrayal of the main character through illustration; and 7. integrate Filipino values in the lesson. CORDILLERA ADMINISTRATIVE REGION Abra Benguet Ifugao Kalinga Mountain Province Apayao The Cordillera Administrative Region (CAR), Philippines' only land-locked region, consists of the provinces of Abra, Benguet, Ifugao, Kalinga, Mountain Province and Apayao. Baguio City is the regional center. The Cordillera region encompasses most of the areas within the Cordillera Central mountain range of Luzon, the largest range in the country. This region is home to numerous indigenous tribes collectively called the Igorot. Cordillera has abundant mineral reserves. These include metallic ores such as gold, copper, silver, zinc, and non-metallic minerals like sand, gravel and sulfur. Mineral reserves are found in all the provinces. However, mining is concentrated in Benguet. Among the literary forms found in CAR are Ibaloy myths, Isneg Riddles, Tingguian Flood myths, oggood, sudsud, and ullalim. A writer associated with CAR is Ma. Luisa Aguilar-Carino (1961: Baguio City). 32 Vocabulary List: protracted- lasting or drawn out for a long time undaunted- not afraid by the prospect of defeat or failure feud- a prolonged violent quarrel between families or clans HUDHUD HI ALIGUYON: AN IFUGAW HARVEST SONG The term Hudhud, in general, refers to narratives that are chanted or sung by tribal poets of Ifugaw on special occasions; e.g., to celebrate the death of a rich or prominent person, to give color to the ceremonies usually performed during the harvest, or as a part of the binugwo, a ceremony occasioned by the digging out of the bones of dead relatives so that they may be blessed. The hudhuds of the Ifugaws may, therefore, be classified into three types on the basis of the occasion for singing: that which is sung on the death of a rich or prominent person, that which is sung when the ancestral bones are dug out to be blessed, and that which is sung during the harvest. Hudhud hi Aliguyon represents the third type. The harvest songs are woven around a central motif the life of Aliguyon and Bugan. Although there are various versions of the story that the songs tell, depending on the originality of the singer, Aliguyon and Bugan are always the main characters. Characters in other hudhuds are in one way or other related to either of these two. Pangaiwan, for instance, is the father of Bugan and Pumbakhayon. Pumbakhayon is the brother of Bugan. The complete story of the Harvest Song of Aliguyon, as known to the Ifugaws, may be summarized as follows: Aliguyon, a long time ago, was born in village of Hannanga. His father was Amtalao; his mother was Dumulao. When he was a little boy, his father used to tell him the stories of his own adventures, in love and in war. His father also taught him the use of the spear and shield. Aliguyon learned quickly. When he was old enough, his father made him a top. He taught Aliguyon how to spin it and how to break the tops of his playmates. His father also taught him how to cut runo spears and fight with them. Aliguyon, listening to the war prayers of the tribe, also learned to say the magic words of the native priests and priestesses. In time, he became the undisputed leader of the children of his tribe. When he reached adolescence, he gathered his comrades and led them in a fight against the enemy of his father, Pangaiwan of Daligdigan. FOLK EPICS In Daligdigan, however, he faced, not his father’s enemy, but the son. Pumbakhayon was as spirited and lusty as Aliguyon, so the fight lasted three years, with no end in sight or any sign of defeat on the part of either group. Through the protracted warfare, the heroes learned to admire each other’s abilities. Their fight finally ended in 33 a peace pact made in Daligdigan, in the home of Pumbakhayon, and at the instance of old Pangaiwan, Pumbakhayon’s father. During the conclusion of the peace pact, Aliguyon saw and courted the youngest of the beautiful sisters of Pumbakhayon, Bugan. Aliguyon brought his bride, a mere child, to his home in Hannanga, where Bugan grew into a beautiful woman. Then Pumbakhayon went to Hannanga to witness his sister’s formal marriage to Aliguyon. Aliguyon and Bugan had many children, and both became prosperous and beloved of the people of Hannanga… Pumbakhayon later courted Aliguyon’s sister and brought her to his father’s home in Daligdigan. There they were happily married and became prosperous (Daguio. pp. 39 – 41). The version presented here, sung by a woman-poet, Hinayup Bantayan [Bantiyan] concentrates on the protracted fight between Aliguyon and Pumbakhayon, which ends in a peace pact sealed by the marriage of Aliguyon to Bugan, Pumbakhayon’s sister, and of Pumbakhayon to Aginaya, Aliguyon’s sister. DISCUSSION QUESTIONS 1. What is the significance of the epic in relation to Ifugao’s harvest ceremony? 2. What motivates Aliguyon to prepare a battle against his enemy? 3. Who is Iken? 4. Enumerate some factors why the battle between Aliguyon and Pumbakhayon lasted for three years. 5. How did their fight end? 6. Narrate how Aliguyon meets his future bride Bugan. Literary Review: Plot and Conflict Plot is the logical sequence of events. It contrasts the development of actions. This means to stay that one event controls or overcomes another event. In a well- plotted story, things precede each other as effects that follow causes. In a good story, nothing is irrelevant or accidental everything is related and causative. Conflict presents the connected pattern of causes and effects which a character (protagonist) must face and try to overcome (often the antagonist). Conflict brings out complications that make up most stories. It is the opposition of two people. Their conflict maybe in the form of envy, hatred, anger, argument, avoidance, gossip, lies, fighting, and many other forms and actions. Conflicts may also occur between groups. Conflicts may also be between individual and larger forces like natural objects, ideas, modes of behavior, and public opinion. A dilemma is a natural conflict for an individual person who is placed in a difficult and impossible choice. (Source: Interactive Reading-Responding to and Writing about Philippine Literature by Ida Yap Patron) 34 Vocabulary List: betel nut- one of the dark red seeds of the Betel Palm that is wrapped in betel leaves with lime and chewed bard- a poet who composes and recites epic poems describing important events intoxicated- drunk stockade- a prison on a military base apparel- outer, decorative clothing valor - courage especially shown in war or battle indemnification- compensation paid to somebody for damage or loss coffer- a strong chest or box used for keeping valuables or money THE KALINGA ULLALIM “The ullalim are ballads chanted by talented bards, either men or women, far into the night at Kalinga festival or recreational gatherings and peace pact assemblies… But they are also distinctive epics since they give lively accounts of fictitious battles and fabulous headhunting raids (kayawa) into hostile territory that center around the main hero of the tale…Moreover, the ullalim are romances, for they make the hero obtain the mandiga, “The dignified lady’ of his choice. The ullalim, like the Ifugaw Hudhud, are not only fictitious and nonritual chanted stories, but outstanding primitive poems as well. However, unlike the hudhud, which eulogizes wealth, the ullalim eulogizes bravery.” ULLALIM THE MAGIC BIRTH OF BANNA (Synopsis) This ullalim, one of the “Banna-Dulliyaw Cycle” of Southern Kalinga, features the main heroes Dulliyaw and his son, Banna. The Bwa (buwa), or “betel nut, is the magic character of the tale – it seems as if it is a real actor who plays an important role not only in the first episode of the story, but more especially when successive events place Dulliyaw in a hopeless situation. It is through the intermediary of Dulliyaw’s betel nut that the young girl, Dinanaw, becomes magically pregnant and gives birth to a son whom bard calls Banna. Other characters of the story are Ya-u whom Dulliyaw seduces. The Agta are the playmates of Little Banna. The role of the other characters is insignificant in the development of the tale. The story begins when the betrothed couple, Dulaw of Kagayan and Ya-u, find a betel nut that invites them to a feast in Madogyaya. At the Village of Madogyaya, Dulaw attracts the attention of Dulliyaw of Dulawon. Planning to court Dulaw, Dulliyaw make Ya-u drink sugarcane wine until he is intoxicated. While Ya-u lies asleep in one house, Dulliyaw courts Dulaw and dupes her by cunningly making her his chewing partner. Afterwards, Dulliyaw triumphantly tells her that, by accepting his betel nut slice, she had actually accepted his marriage proposal. Before Dulaw goes home toward evening, Dulliyaw tells her to expect him on the second night. Indeed, in the middle of the second night. Dulliyaw arrives at Dulaw’s house. While Dulliyaw chews betel nuts with Dulaw, he tells her that he had come to take her to his home at Dulawon. Just then a cock crows. The people of the village are 35 awakened. Dulliyaw leaves Dulaw’s house, meets a man with a head ax, and kills him. Men of the village close in upon Dulliyaw, who climbs a nearby tree to escape from them. Since no one dares attack Dulliyaw, Ya-u decides to call the Spanish soldiers of Sakbawan (at the eastern boundary of Kalingaland). With this men, Guwela, the commander of the garrison, to ascends the heights of Kalingaland, arrives at Kagayan, and orders the soldiers to take hold of Dulliyaw, still sitting on a branch of the tree. Knowing that the odds are against him, Dulliyaw offers no resistance when the soldiers handcuff him. Upon Guwela’s order, the soldiers also arrest Dulaw. At Sakbawan, the prisoners are kept in the stockade. The scene shifts to three years after the imprisonment of Dulliyaw and Dulaw. The prisoners have grown exceedingly thin. Trying to alleviate her sufferings in some way, Dulaw asks Dulliyaw for a betel nut slice. Before the slice of the betel nut is offered to the girl, it magically disappears. At this point, the bard abruptly transfers the scene of her tale to the village of Magobya. There, Dinanaw, a wealthy unmarried girl, is taking a bath in the river. After bathing, she sees a slice of betel nut, which she picks up and chews. Without saying a word more about the slice of betel nut – that it was the slice which had mysteriously vanished when Dulliyaw was about to give it to Dulaw and that by chewing it, Dinanaw had conceived and given birth to a son, whom she named Banna – the bard describes what happened three years later. Little Banna plays with the boys of Magobya. Teasingly they tell him that, if he is the genuine Banna, then he is the son of Dulliyaw, whom the Spanish soldiers kept in the stockade of Sakbawan. Banna reports to his mother what the Agta boys have said; she answers that none of it is true. In a magic instant, little Banna becomes a vigorous young man craving for revenge. A magic force transports him and his companions to the plain of Sakbawan, Banna kills Dulaw. Once of Banna’s companions informs Dulliyaw that Banna is Dulliyaw’s son. Banna, his companions, and Dulliyaw all ride on the red beam of light and, in a single magic instant, reach the Village of Magobya. Banna tells his mother that the handsome gentleman who accompanies him is his father and her husband. Dinanaw accepts with smiling lips the betel nut chew Dulliyaw offers her. They rejoice, they chew, they eat, they sleep. The following day, a magic force carries the whole village of Magobya and all its inhabitants to Dulawan where, without delay, merrymaking begins and goes on day after day. DISCUSSION QUESTIONS 1. Describe the roles played by the betel nut in the story. 2. What is the significance of the act of chewing betel nut in relation to their courtship (as expressed in the story)? 3. Do you agree with the decision of Ya-u to imprison both Dulliyaw and Dulaw? Support your answer. 4. Who is the father of Banna, Dulliyaw or the betel nut? Justify. 5. Do you agree with the action of Banna in killing Dulaw and rescuing Dulliyaw? Why or why not? 36  ULLALIM II The Heroic Exploits of Banna (Tanglag Version) The main characters of this ullalim are: Banna of Dulawon, the hero of the story, Laggunawa of Manggawa the heroine, and Dungdungan of Manila, to whom Laggunawa is betrothed. Dulliyaw, Banna’s father, and Awingan, Laggunawa’s brother, are secondary characters, but they play an important role in the last episodes of the story. After taking a hearty meal prepared by Gimbangonan, his mother, Banna puts on his finest apparel and rides on his horse, Ulsita, toward Malinggawa. Laggunawa welcomes him, serves him a good evening meal, and teases him while she spreads the mat for the night. While Banna and Laggunawa lie comfortably on the mat, Laggunawa thinks of Dungdungan and begins to fear that he might come to visit her. In the middle of the night, Dungdungan does arrive at Laggunawa’s house. He vindicates his rights on Laggunawa for whom he paid the bride price. Banna comes down from the house, sees Dungdungan’s rifle, calmly asks him to hand it over to him, and breaks it. Dungdungan sees Banna’s richly adorned cap, takes it in his hand, and smashes it. Thereupon, Laggunawa, who prefers Banna to Dungdungan, tries to get rid of Dungdungan without having to break the contract of betrothal. She assigns Banna and Dungdungan each ahead hunting exploit to accomplish in a hostile village. The rivals, who understand that Laggunawa would marry the braver of the two, the one who would survive the expedition, cannot but accept the reed she offers to each of them as a token of their agreement. Banna gets to Bibbila and massacres all its inhabitants. This is his first exploit. After the slaughter in Bibbila, he is so excited, so bloodthirsty, and so convinced of his skill and valor that he wishes Dungdungan would require from him another headhunting raid. He sends a betel nut to Magobya, (whither Dungdungan is to have gone in accordance with the agreement) to keep the people there from harming his rival. But Dungdungan, knowing that he does not forfeit his right on Laggunawa even if Banna survives his first expedition, does not go to Magobya. When Banna arrives at the resting place of Gowa, he meets Dungdungan there. Dungdungan tells him to kill the giant Uwon of Baliwon before he would waive his right to Laggunawa’s hand. Banna kills Uwon and massacres the people of Baliwon. Thus, he accomplishes his second exploit. Dungdungan gives Banna another feat to accomplish; he has to kill the giant Gittam who lives in Daya. Banna kills Gittam and achieves his third feat. Dungdungan refuses to give up his rights. Banna has still to kill his namesake. Banna of Agunawa, a most terrible enemy no one has ever dared attack. Banna cuts off the head of Banna of Agunawa, accomplishing his fourth exploit. Carrying his body and the head of his last victim, Banna, together with his escort, reaches the resting place of Gowa. There, he sees Dungdungan run away. At last, he feels certain that his rival will no longer vindicate his claim on Laggunawa. At the resting place, Banna and his warriors shout out their victory. Their shouts arouse the people of Dulawan. Without delay, Dulliyaw, Banna’s father, directs the preparation of a victory 37 feast, to which he invites not only the people of the region, but also those of Manila, Isabela, and Sadangga. While the people are feasting in Dulawan, they hear Dungdungan’s shouts from the resting place of Gowa. The provocative shouts disturb the festive spirit in the village, but Awingan, Laggunawa’s brother, tries to calm down the people telling them that Dungdungan and his companions are merely boasting about their deeds of bravery. Dulliyaw, however, foresees trouble. He speeds up the banquet. When all have eaten, he distributes gifts to each group of guests and lets them return to their respective villages. The women go to the spring to wash the dishes, but find it dried up. The phenomenon is interpreted as an omen that something dreadful is in the offing. Dulliyaw assembles the Dulawan warriors and leads them to a place outside the village. From there, Banna sends the hawk hovering over the region to tell the women to bring rice for the warriors. The women come and incite the men to fight bravely. Banna sends Wassigan learns that the enemy will follow the ordinary path and will have to cross the creek of Dulawan. The Dulawan warriors move to the creek. At the head of his men, Dungdungan approaches Dulawan with a rifle. From afar, he shoots in the direction of Dulawan, and the whole village burns. Thereupon, Awingan shouts: “Let us arrange the matter of the Payment [i.e., repayment of the bride price paid by Dungdungan’s father and indemnization for Dungdungan whose loses his prospective bride].” Dungdungan demands Banna’s cap adorned with beads, while his father asks for the gold which constituted the bride price. Peaceful relations are restored. The Dulawan folk rebuild their villages. Dinayaw, Banana’s sister is given in marriage to Dungdungan, and Banna wins his Laggunawa. DISCUSSION QUESTIONS 1. Enumerate and desribe the characters in the story. 2. How did the story begin? Descride the place where it happened. 3. When did tension arise? Who is responsible to such? 4. Which part was the most stimulating? 5. How was the conflict resolved? 6. If you were the author, how would you end the story? 7. What are the values portrayed in the selection? Are these values still observed and seen nowadays? Literary Review: Structure Structure describes how the writer arranges and places materials based on the general ideas and purpose of the work. While plot is concerned with the conflict or conflicts, structure defines lay out- the way the story is shaped. It refers to placement. Balance, recurring themes, true and misleading conclusions, suspense and the imitation of models of forms like reports, letters, conversations, confessions. 38  Stories and plays follow a pattern of development as follows: Exposition. It refers to the lay out of the materials of the story- the main characters, their backgrounds, their characteristics, interests, goals, limitations, potentials and basic assumptions. It contains the beginning of the story including the intricacies, twists, turns, false leads, blind alleys, surprises and interest, perplex, intrigue, and give pleasure to readers. Complication. It refers to the major conflict. The major participants are the protagonist and the antagonist, together with whatever ideas and values they represent, such as good-evil, freedom-suppression, independence-dependence, love-hate, and intelligence-stupidity-ignorance. Crisis. It refers to the decision or action undertaken to resolve the conflict. This is the point of the greatest curiosity and tension. Crisis is closely followed by climax which is often considered to be the same. Climax. It is the consequence of the crisis. It is the peak of the story because it is the stage where the decision, an action, an affirmation or denial, or realization has to be made. It is also the logical conclusion of the preceding actions for there are no new developments that follow after it. Resolution or Denouement. It is the relaxation of tension and uncertainty. Most authors untie things as quickly as possible to avoid losing the interest of the readers. Once the conflicts are over, a brief action underscores the finality. (Source: Interactive Reading-Responding to and Writing about Philippine Literature by Ida Yap Patron) Task/Activity ACTIVITY 1 Choose the letter of the correct answer. ___1. He was the offspring of Amtalao and Dumulao of Hannanga. a. Pumbakhayon b. Aliguyon c. Bugan ___2. It describes how the writer arranges and places materials based on the general ideas and propose of the work. a. form b. structure c. conflict ___3. An epic from CAR in which wealth is eulogized. a. Hudhud b. Ullalim I c. Ullalim II ___4. The heroine of Hudhud Hi Aliguyon. a. Pangaiwan b. Bugan c. Pumbakhayon ___5. The magic character of the tale Ullalim that acted as a real actor who played an important role. 39  a. Bwa b. Betel nut both a & b ___6. A prolonged violent quarrel between families or clans. a. war b. feud c. riot ___7. Banna’s mother in Ullalim II. a. Laggunawa b. Ya-u c. Gimbangonan ___8. The number of undertakings Banna had overcome just to win his Laggunawa in Ullalim II. a. three b. four c. five ___9. It refers to narratives that are chanted or sung by tribal poets of Ifugaw on special occasions. a. Hudhud b, Ullalim c. talented bards ___10. It is the logical sequence of events. a. plot b. setting c. ambiance ___11. It presents the connected pattern of causes and effects which a character must face and try to overcome. a. plot b. conflict c. climax ___12. An epic from CAR that rave about bravery. a. Hudhud b. Binugwo c. Ullalim ___13. It is the relaxation of tension and uncertainty. a. resolution b. denouement c. both a & b ___14. It is the peak of the story because it is the stage where the decision, an action, an affirmation or denial, or realization.