A Project in Philippine LiteratureSubmitted To: Ms. Thelma Villaflores“Spanish Period”

Notable Works

Doctrina CristianaAng Barlaan at JosaphatAng Pasyon

Irbana at FelisaIbong AdarnaFlorante at Laura

Doctrina Cristiana

Baybayin is the name of the former

Filipino writing system. It comes from

the word baybáy which means

spelling. According to David Diringer,

the renowned expert on ancient

scripts, the baybayin possibly came

directly from the ancient Kavi script of

Java, Indonesia. Or, it may have its

roots in Kavi but was introduced to

the Philippines by way of the ancient

script used by the Buginese people of

Sulawesi, Indonesia.

Another name for the Baybayin is

Alibata. This term was just invented in

1914 by Dean Paul Versoza of the

University of Manila. it comes form

alif, ba and t a, the first letters in the

Arabic dialect of Maguindanao.

Versoza did not explain why he chose

that particular language; it has

absolutely no relationship to the

baybayin.

Ang Barlaan at Josaphat

King Abenir (Abenner or Avenier) reigns over  a vast Indian Kingdom outstretched beyond the  lands of Egypt. He lives in luxury and worldly honors, and is known for his bravery and victory in battles. Yet despite being mighty in wealth and power, his happiness is marred, for he has no heir to inherit his throne, kingdom, and glory.Meanwhile, he learns that noblemen and senators have abandoned their luxurious lives and  started laying their lives for Christ’s sake. Those who embrace the monastic life are growing in number. Hence, the king starts passing on decrees forcing Christians to renounce their religions, and later mastered various methods of torture to persecute them. Many of the followers who are weak in spirit are unable to endure the torture and yield to the king. The others who rebuke him suffer and become martyrs. The threatened few seek refuge in the deserts and mountains.The king rules for many years and in this terrible state of error, the queen bears a child. The comely babe, they name Josaphat (Ioasaph). The king is filled with joy, and orders his men to gather his people to celebrate his son’sbirthday. Although in shroud of fear, the people come, bringing offerings according to what each man has in store. King Abenir’s joy is however short-lived when he learns from the oracles of kings that his son will embrace the Christian faith:“From that which I learn from the courses of the stars, O king, the advancement of the child, now born unto thee, will not be in thy kingdom, but in another, a better and a greater one beyond compare. Methinketh also that he will embrace the Christian religion, which thou persecutest, and I trow that he will not be disappointed of his aim and hope.”  thus spoke the astrologer

King Abenir’s wrath and disillusionment is such as to have his men build a castle for his only son in a secluded city. There Josaphat (Ioasaph) lives, devoid of any contact from the outside world, except for instructors, servants, and guards–whom the king thinks fit to serve him. The young prince grows to manhood.Meanwhile, in the wilderness of Senaar, there lives a hermit saint. This elder’s name is Barlaan (Barlaam). Upon witnessing an apparition, Barlaan leaves for the young prince Josaphat’s palace. In disguise as a merchant, he starts imparting the Christian teachings and works to Josaphat until the latter accepts the faith and finally gets baptized.When King Abenir discovers his son’s baptism, he is outraged. But after six years of his son’s persistent urging and encouragement, the king himself gets baptized. Not long after, the king dies, and Josaphat honors his body by burying him in a sepulchre where the devoted men lay and clothing him in a robe of penitence.

After erecting and establishing a church, Josaphat leaves his father’s land and entrusts  the kingdom to a faithful servant and follower, Barachias. He embarks in a journey in search of true happiness and a life unobstructed by worldly confusions. Enduring sundry misfortunes and hardships, Josaphat finally finds his friend, Barlaan. The rest of their lives they devote inliving godly lives and venerating the Lord. They took to an ascetic lifestyleuntil Barlaan’s death. Two years later, Josaphat followed.The news of their death reaches King Bacharias, upon which he orders the remains of Barlaan and Josaphat to be brought back to India and buried in the church that Josaphat has built. Since then, the believers considered Barlaan and Josaphat saints:

Ang Pasyon

Ang Pasyon ay isang naratibong tula ng Pilipinas, na nagsasaad ng buhay ni Kristo, mula kapanganakan hanggang sa pagkapako niya sa krus. Ang unang Pilipinong sumulat at kumanta ng pasyon sa Tagalog ay si Padre Gaspar Aquilino de Belen, isang katutubo ng Rosario, Batangas Ang kanyang salin ay makikita sa Manga Panalangin Nagtatagubilin sa Calolowa Nang Taong Naghihingalo. Dahil sa binigyan ng permiso mula sa simbahan ni Padre Antonio del Pueblo si de Belen, napahintulutan na ilimbag niya ang Pasyon sa Maynila noong 1704. Bilang kauna-unahang akda ng ganitong uri ng panitikan, ito ay nakatanggap ng karangalan. Naging mabenta pa ang akdang ito sa maraming taon kaya nailimbag itong muli sa ikalimang pagkakataon noong 1750. Dahil sa kamangha-manghang pagtanggap sa Pasyon ni Padre de Belen, ito ay naging dahilan upang sumunod ang ibang manunulat sa kanyang mga yapak.

Virbana At Felisa

Urbana at Felisa, a novel written in 1938 by Modesto de Castro was tremendously popular from the 19th-century to the first half of the 20th-century.The story relates the importance of purity and ideal virtues that married people should practice and enrich."Written in Tagalog by a priest famous for his powerful sermons, Urbana at Felisa is an example of the book of conduct that emerged in Europe during the Renaissance. Its author used the epistolary style wherein a series of thirty-four letters, members of a family in Paombong, Bulacan gave each other advice on the ideal conduct and behavior expected of a middle-class and Christian family. Thus in her letters to her younger siblings Felisa and Honesto, who remained in Paombong, Urbana, who left for Manila to study, wrote not only of the need to follow the values and norms found in Christian teaching, but as importantly, to observe the proper mode of conduct as one dealt with people in society. The series of correspondences, including a letter from a priest on the duties and responsibilities of married life, touched on various facets of experience that a person underwent from birth to death both in the secular and spiritual realms. In retrospect, Urbana at Felisa should be perceived as a text not only meant to regulate conduct and behavior, but as a discourse to contain the moral excesses of the period and affirm basic Christian tenets."

Ibong Adarna

Ang Ibong Adarna ay may isang napakahabang buntot na may maraming mga maningning na kulay na parang bahaghari. May alam siyang pitong awit na kung ito'y kanyang inaawit ay siyang natutulog ang lahat ng taong nakakarinig. Kaya ng Ibong Adarna gamutin ang lahat ng uri ng sakit. Matapos ang ikapitong awit, ito ay naglalabas ng mga kahima-himala kapangyarihan, na ginagamit para ibahin ang anyo ng anumang buhay na organismo upang maging bato.

The Adarna bird has a fantastically long tail, shiny with metallic colors. It knows a total of seven songs that are believed to lull people to sleep and cure all sicknesses. After each song, the Ibong Adarna changes its feathers of colors and shades. After the last song, it excretes magic, and then finally, sleeps with its eyes wide open. Its droppings can transform any living organism into stone.

In the story, Don Fernando, the ruler of the Kingdom of Berbania, fell ill after having a bad dream about Don Juan. In his dream, Don Juan his favorite son, was attacked by two people and then thrown into a well. None of the healers in the kingdom could heal Don Fernando, and his condition worsened. One day, an old doctor arrived in the Berbania and said that the illness of Don Fernando, which was caused by a nightmare, may be cured only by the singing of the bird Adarna (Ibong Adarna). The doctor warned that the bird is really a witch, but it must be captured and brought to Berbania to cure Don Fernando.

To catch the bird, the leper advised Don Juan to stay awake to avoid its droppings, which could turn him into a figure of stone, like what happened to his two brothers, Don Pedro and Don Diego, who tried to stay awake in vain. To maintain his vigilance, Don Juan cut his palm with a razor and poured lime juice on his injury. When the bird finished its seven songs, Don Juan climbed the tree and used a gold cord to tie the Ibong Adarna's legs so that it would not escape. Afterwards, he poured water on the stone figures of his brothers under the tree and restored them back to humanity.

Florante at Laura

Florante at Laura (“Florante and Laura”) by Francisco Baltazar (also known as Balagtas) is one of the masterpieces of Philippine literature. “Florante at Laura” is an abbreviation of the actual title which is: “Pinagdaanang Buhay Nina Florante at Laura sa Kahariang Albanya: Kinuha sa Madlang Cuadro historico o pinturang nagsasabi sa mga nangyari nang unang panahon sa imperyo ng Gresya, at tinula ng isang matuwain sa bersong Tagalog.” (“The Life of Florante and Laura in the Kingdom of Albania: culled from historical accounts and paintings which describe what occurred in ancient times in the empire of Greece, and penned by someone who enjoys Tagalog verse”). 

Recreation Plays

TibagLagaylaySenakuloPanunuluyan SalubongCarilloZarzuela

SaineteMoro-MoroKaragatanDuploBalagtasanDing AwAwit At Corrido

Tibag

Lagaylay

An lagaylay saróng relihiyosong pagrokyáw sa debosyon sa Banal na Krus. Ginigíbo iní lambáng bulan nin Mayo sa mga banwáan kanCanaman , Magarao , Bombon asín Calabanga sa Camarines Sur siring man sa Pilar, Sorsogon, Filipinas. Pigtatàwan pag-omaw sa kaogmáhan an pagkadukáy kan krus na pigpakóan ki Hesukristo ni Reyna Elena kan Constantinople.Guminíkan an ritwal na iní sa paganong kawat na halea na piggígibo tuyong bulánon. Si Haliya an dyosa kan bulan sa suánoy na pagtubód. Pigpopònan an selebrasyon sa saróng novena sa Sta. Cruz asín pagbayle sagkód pag-awit kan mga paralagayláy sa ikatolóng aldáw kanMayo, an suboót aldáw kan nadukayán an Banal na Krus.An mga partisipante kainí ipigpanatà sa Sta. Cruz kan saindáng mga magúrang. Binibílog iní nin mga darága kabáli: an saróng Sta. Elena, an igwáng pinakamagayón na tingog; saróng agóm nin paraduyág, saradít na akì sa gilid kan Elena; mga padis na inaapód na panampáran; asín an pinakaenot na padis, iyó an mga responde.Igwáng anóm na parte an Lagaylay: timbakó, duyag, pag-atang kan korona, pasyon, pagkorona ki Sta. Elena, asín danza.

Senakulo

Ang Senakulo ay tradisyonal na pagsasadula ng mga pangyayari hinggil sa mga dinanas ni Hesukristo bago at pagkaraang ipako siya sa krus. Hango ang nasabing tradisyon sa Bibliya at iba pang tekstong apokripa. Kadalasang ginaganap ito sa lansangan o kaya'y sa bakuran ng simbahan. Ang magkakaibigan, magkakamag-anak, at magkakababayan ay magkikita-kita upang panoorin at palakasin ang loob ng mga tauhan sa dula. Ang mga kasuotan ng mga gumaganap ay ginagad sa suot ng mga kawal na Romano at iba pang personalidad at kasaysayan at may matitingkad na kulay. Ang mga manonood naman ay may baong sariling upuan at pagkain upang hindi sila mainip sa panonood. Karaniwan ding makikita ang iba't ibang tindahan na nakapaligid sa pinagdarausan ng senakulo. Hindi man atentibo sa panonood ang ilang tao ay madali pa ring masundan ang takbo ng pagsasadula sapagkat pamilyar ang bawat mga eksena.

Ang Panunuluyan

Ang Panunuluyan ay isang

kaugaliang Kristyanong mga

Filipino na nagtatanghal ng

masalimuot na paglalakbay nina

Santo Jose at Birheng Maria mula

sa Nazareth patungong Bethlehem

upang maghanap ng matutuluyan

na mapagsisilangan kay

Hesukristo. Ito ay hango sa

salitang-ugat na “tuloy” na isang

magiliw na pag-anyaya o

pagpapatuloy ng panauhin sa loob

ng tahanan.

Salubong

SALUBONGNarito po Ako, Inay...muli po Akong nabuhayupang ang sanlibuta'y'di na malumbaysa pag-aalay Ko ng buhay.

Narito po Akoupang pawiin ang iyong mga luhangtanging para sa Akin;huwag na po kayong malungkot, Inay.Masdan ninyo po Akong tinupad ang loob ng Ama;masdan ninyo po Akong matagumpay sa kamatayan, kadiliman, at kasamaan.Nais Ko po kayong pasalamatandahil tinanggap po ninyo ang kalooban ng Ama't Panginoonng sangkatauhan.Nais po kitang yakaping muliupang mapatunayan po ninyonghindi kayo nagkakamali.

Narito po Ako!Muling nabuhay para po sa inyo at sa buong mundo!

Zarzuela

Zarzuela is a Spanish lyric-dramatic genre that alternates between spoken and sung scenes, the latter incorporating operaticand popular song, as well as dance. The etymology of the name is not totally certain but some propose it may derive from the name of a Royal hunting lodge, the Palacio de la Zarzuela near Madrid, where, allegedly, this type of entertainment was first presented to the court.[The palace was named after the place called "La Zarzuela" because of the profusion of brambles (zarzas) which grew there and so the festivities held within the walls became known as Zarzuelas.There are two main forms of zarzuela: Baroque zarzuela (c.1630–1750), the earliest style, and Romantic zarzuela (c.1850–1950), which can be further divided into two. Main sub-genres are género grande and género chico although other sub-divisions exist.Zarzuela spread to the Spanish colonies, and many Hispanic countries – notably Cuba – developed their own traditions. There is also a strong tradition in the Philippines where it is also known as zarzuelta.Other regional and linguistic variants in Spain includes the Basquee zartzuela and the Catalan sarsuela.A masque like musical theatre had existed in Spain since the time of Juan del Encina The zarzuela genre was innovative in giving a dramatic function to the musical numbers, which were integrated into the argument of the work. Dances and choruses were incorporated as well as solo and ensemble numbers, all to orchestral accompaniment.

Moro-Moro

While Moro resistance was already widely established during

and immediately after colonial rule, it was not until the early

70s that the "formalization" of the Moro revolutionary

movements took place.

The Moro National Liberation Front (MNLF) emerged as the

very first revolutionary group among the young Moro radicals.

Its emergence came in the wake of a growing Islamic

consciousness among Philippine Muslims. The MNLF was in

the forefront of the separatist movement among the Moros: it

was then representing the general sentiment among the

Moros of national oppression in the hands of a Christian-

dominated Philippine government.

Perhaps many of us vividly remember the series of violent

encounters between Muslim/Moro militias and Christian

military and paramilitary groups in various parts of Mindanao.

For many, the wounds of such wars have not yet healed

completely, and these have cut deeply along the faith

identities of both its protagonists and innocent victims.

The separatist struggle of the MNLF from 1971 to 1976 took a

heavy toll on both sides (Mercado, 1992). Estimates of lives

lost range from 50,000 to 80,000, and about 300,000

displaced, many of whom have sought refuge in neighboring

Sabah.

A breakthrough came after five years of bloody

confrontations with the signing of the now famous Tripoli

Agreement in December 1976. Among other things, the

agreement provided for an establishment of an autonomous

region in 13 provinces in Mindanao and Sulu, "within the

realm of sovereignty and territorial integrity of the Republic

of the Philippines…, subject to constitutional processes." In

April 1978, a referendum was held to ask the voters in the

13 provinces whether they would opt to join the proposed

autonomous government. Three of these provinces, namely

Davao del Sur, South Cotabato and Palawan, refused to join,

so only nine provinces comprised the autonomous

government then.

While the two autonomous regions were slowly put in place

in Zamboanga and Cotabato cities, the MNLF leadership was

seriously rocked by disputes allegedly due to the inter-

ethnic differences among its top officials. Some observers

believe that this was largely concocted by President Marcos’

military lieutenants to divide and weaken the Moro struggle

for a separate state.

Karagatan

Ang karagatan ay ang pangunahing bahagi ng anyong tubig at prinsipal na bahagi ng kalawakan ng tubig o hidrospera Tinatayang nasa 72% ng ibabaw ng Daigdig  (isang lawak  ng mga 361 kilometro kwadrado ang natatakpan ng karagatan, isang patuloy na bahagi ng tubig na nakaugaliang hinahati sa ilang mga pangunahing mga karagatan at maliliit na mga dagat ..

Duplo

Ang duplo ay isang pamamaraan na ipinasok o isinama sa mga selebrasyon upang mabawasan ang kalungkutan sa pagdadasal para sa mga namatay. Ito ay binubuo ng mga puns, biro at palaisipan sa bernakular.Kinalaunan, ang duplo ay naging isang madulaing debate sa pamamagitan ng berso.Ang nakasanayang gawi ay ang ibang manlalaro ay magbibintang sa iba ng mga kathang krimen, at ang mga akusado naman ay ipagtatanggol ang kanilang sarili. Ang usapan o dayalogo ay nagiging mas masigla gamit ang mga kotasyon mula sa mga awit at corrido na ginagamit sa debate. Kapag ang isang nakikipagtalo ay nagbigay ng maling sagot sa palaisipan na binigay sa kanya, siya ay kadalasang pinaparusahan sa pamamagitan ng pagpilit sa kanya na magsabi ng isang dalit para sa namatay. 

Balagtasan

Ang balagtasan ay isang pagtatalo sa pamamagitan ng pagtutula. Inimbento ito noong panahon na ang Pilipinas ay nasa ilalim ng Amerika, base sa mga lumang tradisyon ng makatang pagtatalo gaya ng karagatan huwego de prenda at duplo. Ang pinagmulan ng pangalan na balagtasan ay ang orihinal na apelyido ni Francisco Baltazar Balagtas, dahil ginawa ito para sa okasyon ng pagdiwang ng anibersaryo ng kanyang kaarawan. Ang balagtasan ay hawig sa isang duplo. Ang mga kasali dito ay gumaganap na nasa isang korte na sumisiyasat sa kaso ng isang hari na nawala ang paboritong ibon o singsing. May gumaganap na fiscal o tagausig, isang akusado,at abogado. Ito ay magiging dibate o sinasabing tagisan ng katwiran sa panig ng taga-usig at tagapagtanggol at maaaring paiba-iba ang paksa. Bagamat ito ay lumalabas na dibate sa pamamaraang patula, layunin rin nito na magbigay aliw sa pamamagitan ng paghahalo ng katatawanan, talas ng isip, na may kasamang mga aktor sa isang dula. Ang balagtasan ay ginamit ng mga manunulat upang maipahiwatig ang kanilang palagay sa aspetong politika at mga napapanahong pangyayari at usapan.

Awit At Corrido

Philippine metrical romances, awit and korido in Tagalog, as defined by Dr. Damiana L. Eugenio in her book Awit and Corrido: Philippine Metrical Romances (AC:PMR, 1987), are long verse narratives on chivalric-heroic, religious, legendary and folkloric themes. 'Koridos' or 'corridos,' as Philippine romances are generally called, are heavily influenced by foreign literature. They were the most popular among the Spanish colonial literary forms. They are of uniform stanza pattern -- monoriming and assonant quatrain -- and vary in length, from a few hundred to several thousand lines.

They are more fully described by Trinidad H. Pardo de Tavera a distinguished Filipino scholar, as: “stories in verse about historic events, falsified and fanciful, and love tragedies full of wonderful events mixed with divine prodigy and diabolical magic -- all lengthy, exaggerated, puerile, and absurd in the extreme. Not one of the characters is native. All are Turks, Arabs, knight-errant, ambassadors, dukes, warriors in armor, provided with magic arms and with balsams like the famous one of Fierabras, good Castilians and bad strangers. All the characters are at variance with Philippine life; for they are only semblances of the real and true beings of unknown lands and of prodigious races." (AC:PMR, 1987).

Presented By:

Kenner Ll. LLanoso