MODULE EL112 – SURVEY OF PHILIPPINE LITERATURE - ENGLISH

CHAPTER 2
Objectives:
a. Classify the first books during the Spanish period.
b. Identify the different recreational plays emerged during the Spanish
period.
c. Analyze the changes of the lives of the Filipinos from Pre-Spanish Era to
Spanish Era.

THE SPANISH PERIOD

- It is an accepted belief that the
Spanish colonization of the
Philippines started in 1565 during
the time of Miguel Lopez de
Legazpi, the first Spanish
governor-general in the
Philippines. Literature started to
flourish during his time.
- This spurt continued unabated
until the Cavite Revolt in 1872.
The Spaniards colonized the
Philippines for more than three
centuries.
- During these times, many
changes occurred in the lives of
Filipinos.
- They embraced the Catholic
religion, changed their names, and
were baptized.
- Their lifestyles changed too. They
built houses made of stones and
bricks, used beautiful furniture like
the piano and used kitchen
utensils.
- Carriages, trains, and boats were
used as means of travel. They held fiestas to honor the saints, the pope and the
governors. They had cockfights, horse races, and the theater as means of recreation.
- This gave rise to the formation of the different classes of society like the rich and the
landlords.
- Some Filipinos finished courses like medicine, law, agriculture and teaching. Many
Filipinos finished their schooling already had been established.

SPANISH INFLUENCES ON PHILIPPINE LITERATURE

- Due to the long period of colonization of the Philippines by the Spaniards, they have
exerted a strong influence on our literature.

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The first Filipino alphabet called ALIBATA was replaced by the Roman alphabet.

THE TEACHING OF THE CHRISTIAN

- Doctrine became the basis of religious
practices.
- The Spanish language which became the
literary language during this time lent many of
its words to our language.
- European legends and traditions brought here
became assimilated in our songs, corridos,
and moro-moros.
- Ancient literature was collected and translated
to Tagalog and other dialects. Many
grammar books were printed in Filipino like
Tagalog, Ilocano and Visayan. Our
periodicals during these times gained a
religious tone.

THE FIRST BOOKS

1. ANG DOCTRINA CRISTIANA (THE CHRISTIAN

DOCTRINE).
This was the first book printed in the Philippines in 1593 in
xylography. It was written by Fr. Juan de Placencia and Fr.
Domingo Nieva, in Tagalog and Spanish. It contained the Pater
Noster (Out Father), Ave Maria (Hail Mary), Regina Coeli (Hail
Holy Queen), the Ten Commandments of God, the
Commandments of the Catholic Church, the Seven Mortal Sins,
How to Confess, and the Cathecism. Three old original copies
of this book can still be found at the Vatican, at the Madrid
Museum and at the US Congress. It contains only 87 pages but
costs $5,000.0

2. Nuestra Señora del Rosario.

The second book printed in the Philippines was written by Fr.

Blancas de San Jose in 1602, and printed at the UST Printing
Press with the help of Juan de Vera, a Chinese mestizo. It
contains the biographies of saints, novenas, and questions
and answers on religion.

3. Libro de los Cuatro Postprimeras de Hombre (in Spanish and Tagalog).

This is the first book printed in typography.

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4. Ang Barlaan at Josephat - This is a Biblical story printed in the

Philippines and translated to Tagalog from Greek by Fr. Antonio de Borja.
It is believed to be the first Tagalog novel published in the Philippines
even if it is only a translation. The printed translation has only 556 pages.
The Ilocano translation in poetry was done by Fr. Agustin Mejia.

5. The Pasion - This is the book about the life and sufferings of Jesus
Christ. It is read only during Lent. There were 4 versions of this in
Tagalog and each version is according to the name of the writer.

- These are the Pilapil version (by Mariano Pilapil of Bulacan,

1814), the de Belen version (by Gaspar Aquino de Belen of
Bataan in 1704), the de la Merced (by Aniceto de la Merced of
Norzagaray, Bulacan in 1856) and the de Guia version (by Luis de
Guia in 1750).Critics are not agreed whether it is the Pilapil or the
de la Merced version which is the most popular.

6. Urbana at Felisa - A book by Modesto de Castro,

he also called Father of Classic Prose in Tagalog.
These are letters between two sisters Urbana at Felisa
and have influenced greatly the behavior of people in
society because the letters dealt with good behavior.

7. Ang Mga Dalit kay Maria (Psalms for Mary)-

It is he collection of songs praising the Virgin Mary. Fr.
Mariano Sevilla, a Filipino priest, wrote this in 1865 and
it was popular especially during the Maytime “Flores de
Mayo”festival.

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LITERARY COMPOSITIONS
Arte y Reglas de la LenguaTagala (Art and Rules of the Tagalog Language)
- Written by Fr. Blancas de San Jose and translated to Tagalog by Tomas Pinpin in 1610.
Compendio de la LenguaTagala (Understanding the Tagalog Language) –
- Written by Fr. Gaspar de San Agustin in 1703.
Vocabulario de la LenguaTagala (Tagalog vocabulary) –
- The first Tagalog Dictionary written by Fr. Pedro de San Buenaventura in 1613.
Vocabulario de la Lengua Pampanga (Pampanga Vocabulary) –
- The first book in Pampanga written by Fr. Diego in 1732
Vocabulario de la Lengua Bisaya (Bisayan Vocabulary) –
- The best language book in Visayan by Mateo Sanchez in 1711
Arte de la LenguaIlokana (The Art of the Ilocano Language).
- The first Ilocano grammar book by Francisco Lopez
Arte de la Lengua Bicolana (The Art of the Bicol Language) –
- The first book in the Bicol language and written by Fr. Marcos Lisbon in 1754.

FOLK SONGS
- Folk songs became widespread in the Philippines. Each region had its national song
from the lowlands to the mountains of Luzon, Visayas and Mindanao.
- Folk songs truly manifest the artistic feelings of the Filipinos. They show the Filipinos’
innate appreciation for and love of beauty.
- The examples are Leron-Leron Sinta, Pamulinawen, Dandansoy, Sarong Banggi
and Atin Cu PungSingsing.

RECREATIONAL PLAYS
- There are many recreational plays performed by Filipinos during the Spanish times.

Almost all of them were in poetic form. Here are

examples:

1. Tibag
- The word tibag means to excavate. This ritual was
brought here by the Spaniard to remind the people
about the search of St. Helena for the Cross on which
Jesus died.

2. Lagaylay
- This is a special occasion for the Pilareños of
Sorsogon during May time to get together.
- As early as April, the participating ladies are chosen
and sometimes, mothers volunteer their girls in order
to fulfill a vow made during an illness or for a favor

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received.
- In some parts of Bicol, a different presentation is made but the objective is the same –
praise, respect and offering of love to the Blessed Cross by St. Helen on the mound she
had dug in.

3. The Cenaculo
- This is a dramatic performance to commemorate the
passion and death of Jesus Christ. There are two
kinds: the Cantada and Hablada.
- In the Hablada the lines are spoken in a more
deliberate manner showing the rhythmic measure of
each verse and the rhyming in each stanza and is
more dignified in theme; the Cantada is chanted like
the Pasion.
- The Cenaculo is written in octosyllabic verse, with 8
verses to the stanza. The full length versions take
about 3 nights of staging.
- Performers come in costumes with wigs and
performers are carefully chosen for their virtuous life. One performs the role of Jesus
Christ and another the role of the Virgin Mary. Many famous Cenaculo players come
from the Tagalog regions although there are also those from Ilocos, Pampanga, Bicol
and both Sibulanon and Hiligaynon.

4. Panunuluyan
- This is presented before 12:00 on Christmas Eve. This is a
presentation of the search of the Virgin Mary and St.
Joseph for an inn wherein to deliver the baby Jesus.

5. The Salubong (or Panubong)

- The Salubong is an Easter play that dramatizes the
meeting of the Risen Christ and his Mother. It is still
presented in many Philippine towns.

6. Carillo (Shadow Play)

- This is a form of dramatic entertainment performed on a
moonless night during a town fiesta or on dark nights after
a harvest. This shadow play is made by projecting
cardboard figures before a lamp against a white sheet. The
figures are moved like marionettes whose dialogues are
produced by some experts.
- The dialogues are drawn from a Corrido or Awit or some

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religious play interspersed with songs.

- These are called by various names in different places: Carillo in Manila, Rizal and
Batangas and Laguna; TITRES in Ilocos Norte, Pangasinan, Bataa, Capiz and
Negros; TITIRI in Zambales; GAGALO or KIKIMUT in Pampanga and Tarlac; and
ALIALA in La Union.

7. The Zarzuela
- Considered the father of the drama; it is a musical comedy or
melodrama three acts which dealt with man’s passions and
emotions like love, hate, revenge, cruelty, avarice or some
social or political problem

8. The Sainete
- This was a short musical comedy popular during the
18thcentury. They were exaggerated comedies shown
between acts of long plays and were mostly performed by
characters from the lower classes. Themes were taken from
everyday life scenarios.

THE MORO-MORO
- Like the Cenaculo, the Moro-moro is presented also on a special
stage. This is performed during town fiestas to entertain the
people and to remind them of their Christian religion. The plot is
usually the same that of a Christian princess or a nobleman’s
daughter who is captured by the Mohammedans. The father
organizes a rescue party where fighting between the Moros and
the Christians ensue.
- The Mohammedans are defeated by some miracle or Divine
Intercession and the Mohammedans are converted to
Christianity. In some instances, the whole kingdom is baptized
and converted. One example of this is Prinsipe Rodante.

KARAGATAN
- This is a poetic vehicle of a socio-religious nature celebrated
during the death of a person. In this contest, more or less
formal, a ritual is performed based on a legend about a
princess who dropped her ring into the middle of the sea and
who offered here hand in marriage to anyone who can
retrieve it.
- A leader starts off with an extemporaneous poem
announcing the purpose. He then spins a “lumbo”o “tabo”
marked with a white line. Whoever comes in the direction of

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the white line when the spinning stops gets his turn to “go into the sea to look for the
ring.”This means a girl will ask him a riddle and if
he is able to answer, he will offer the ring to the
girl.
DUPLO
- The Duplo replaced the Karagatan. This is a
poetic joust in speaking and reasoning. The roles
are taken from the Bible and from proverbs and
saying. It is usually played during wakes for the
dead.

THE BALAGTASAN
- This is a poetic joust or a contest of skills in debate
on a particular topic or issue. This is replaced the
DUPLO and is held to honor Francisco
“Balagtas”Baltazar.

THE DUNG-AW
- This is a chant in free verse by a bereaved person
or his representative beside the corpse of the dead.
No definite meter or rhyming scheme is used. The
person chanting it freely recites in poetic rhythm
according to his feelings, emotions and thoughts. It
is personalized and usually deals with the life,
sufferings and sacrifices of the dead and includes
apologies for his misdeeds.

THE AWIT and THE CORRIDO

- Some use these two interchangeably because
distinction is not clear.

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LITERARY READINGS

To Celia (1788)
Poem By Francisco Balagtas

If I recall and read again in the Makati river we frequented;

those days in love’s long-faded script, would to the happy berth of boats I trace your
there be not a mark or trace but Celia’s, steps, among the stones that touched your
imprinted on my breast? feet.

The Celia whom I’ve always feared might All these return before me now, the joy of
forget our love, years, the blissful past,
who took me down these hapless depths, where I would soak and steep myself before
the only reason for this turn of fate. I’m caught in brackish neap.

Again would I neglect to read the pages of Always I could hear what you would say:
our tenderness, Three days and our eyes won’t meet.
or call to mind the love she poured, the And the eager answer from my leaping
bitter struggle I gave for it? heart: There’s only me but you prepare a
feast.
Our sweet days gone, my love is all that’s
left; ever shall it dwell within So what was there in our
till I’m laid down in my grave. joyful past that memory could miss: in
constant return the tears do flow, I sigh and
Now as I lie in loneliness, behold wherein I weep: O hapless fate!
seek relief:
each bygone day I revisit, I find joy in the Where is Celia, joy of my heart? Why could
likeness of your face. our blissful love not last?
Where is the time when just her look was
This likeness painted with love and longing heaven’s glimpse, my soul, my life?
has lodged within my heart, sole token left
with me not even death can steal. Why, when we parted,
did this luckless life not cease? Your
My soul haunts the paths memory is death, O Celia, but in my heart
and fields you blessed with your footsteps; you will not fade.
and to Beata River and shallow Hilom
stream my heart never fails to wander
This long torment you brought,
Not rarely now my vagrant grief I couldn’t bear, O departed Joy;
sits under the mango tree we passed, and but it took me by the hand to poetry and
looking at the dainty fruits song, about a life so trodden low, now lost.
you wanted picked I forget my ache.
Celia, my messages are mute, my muse is
The whole of me could only dumb, her voice faint;
be intimate with sighs when you were ill; for without my taunt she would not speak, pray
I knew as Eden kept a room us, listen to me with mind and ear.
my hidden hurt was heaven still.
This first spring that breaks
I woo your image that resides from my parched mind I offer at your feet:

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deign receive, from this kneeling heart, even

if you won’t savor it. Rise now to shore and field, accompany
with lyre this humble song that speaks: if
If all this fell into slur and insult, fate this life may snip,
my gain is great from invested effort, if its fervent wish is that love won’t cease.
complaint it is you now peruse, remember,
too, it is the author’s gift. Gleaming bloom of my mind,
Celia whose symbols are M, A, and R; here
O joyful nymphs of Bai, the placid lake, I am adoring at the Virgin Madonna’s altar,
Sirens whose voices bring music to my F and B, your loyal servant.
ears, I come now to your sparkling shrine,
my forlorn muse implores you.

A la Juventud Filipina (To the Filipino Youth)

By : Jose Rizal (1879)

To the Filipino Youth

Hold high the brow serene, Thou, who now wouldst rise,
O youth, where now you stand; Let the On wings of rich emprise,
bright sheen Seekingfrom Olympian skies
Of your grace be seen, Fair hope of my
fatherland! Songs of sweetest strain, Softer than
ambrosial rain; Thou, whose voice divine
Come now, thou genius grand, And bring Rivals Philomel's refrain And with varied line
down inspiration; With thy mighty hand, Through the night benign Frees mortality
Swifter than the wind's violation, from pain;
Raise the eager mind to higher station.
Thou, who by sharp strife Wakest thy mind
to life; And the memory bright Of thy genius'
Come down with pleasing light Of art and light
science to the fight, O youth, and there untie Makest immortal in its strength;
The chains that heavy lie, Your spirit free to
blight. See how in flaming zone Amid the
shadows thrown, The Spaniard'a holy hand And thou, in accents clear Of Phoebus, to
A crown's resplendent band Proffers to this Apelles dear; Or by the brushes magic art
Indian land. Takest from nature's store a part,

For more knowledge about the literature during the Spanish period in the
Philippines please visit the following links:
 https://youtube.be/MtiZuuly3h8
 https://youtube.be/qI2i4pAxb_Y
 https://youtube.be?CUStYynZSII


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REFERENCES:
https://philippineliterature-091020093804-phpapp01.pdf
https://ironmao.weebly.com>uploadspdfthespanishperiod
https://www.slideshare.net/mobile/markvincentmillona1/literature-during-
thespanish-period https://www.melodicverses.com/poems/33518/To-Celia

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