Spanish colonial period with reflection

he existing literature of the Philippine ethnic groups at the time of conquest and conversion into Christianity was mainly oral, consisting of epics, legends, songs, riddles, and proverbs. The conquistador, especially its ecclesiastical arm, destroyed whatever written literature he could find, and hence rendered the system of writing (e.g., the Tagalog syllabary) inoperable. Among the only native systems of writing that have survived are the syllabaries of the Mindoro Mangyans and the Tagbanua of Palawan.

       The Spanish colonial strategy was to undermine the native oral tradition by substituting for it the story of the Passion of Christ (Lumbera, p. 14). Although Christ was by no means war-like or sexually attractive as many of the heroes of the oral epic tradition, the appeal of the Jesus myth inhered in the protagonist’s superior magic: by promising eternal life for everyone, he democratized the power to rise above death. It is to be emphasized, however, that the native tradition survived and even flourished in areas inaccessible to the colonial power. Moreover, the tardiness and the lack of assiduity of the colonial administration in making a public educational system work meant the survival of oral tradition, or what was left of it, among the conquered tribes.

       The church authorities adopted a policy of spreading the Church doctrines by communicating to the native (pejoratively called Indio) in his own language. Doctrina Christiana (1593), the first book to be printed in the Philippines, was a prayerbook written in Spanish with an accompanying Tagalog translation. It was, however, for the exclusive use of the missionaries who invariably read them aloud to the unlettered Indio catechumens (Medina), who were to rely mainly on their memory. But the task of translating religious instructional materials obliged the Spanish missionaries to take a most practical step, that of employing native speakers as translators. Eventually, the native translator learned to read and write both in Spanish and his native language.

       This development marked the beginning of Indio literacy and thus spurred the creation of the first written literary native text by the native. These writers, called ladinos because of their fluency in both Spanish and Tagalog (Medina, pp. 55-56), published their work, mainly devotional poetry, in the first decade of the 17th century. Among the earliest writers of note were Francisco de San Jose and Francisco Bagongbata (Medina). But by far the most gifted of these native poet-translators was Gaspar Aquino de Belen (Lumbera, p.14). Mahal Na Pasion ni Jesu Christo, a Tagalog poem based on Christ’s passion, was published in 1704. This long poem, original and folksy in its rendition of a humanized, indeed, a nativized Jesus, is a milestone in the history of Philippine letters. Ironically — and perhaps just because of its profound influence on the popular imagination — as artifact it marks the beginning of the end of the old mythological culture and a conversion to the new paradigm introduced by the colonial power.

       Until the 19th century, the printing presses were owned and managed by the religious orders (Lumbera, p.13). Thus, religious themes dominated the culture of the Christianized majority. But the native oral literature, whether secular or mythico-religious continued. Even among the Christianized ethnic groups, the oral tradition persisted in such forms as legends, sayings, wedding songs such as the balayan and parlor theater such as theduplo (Medina, p. 32).

       In the 18th century, secular literature from Spain in the form of medieval ballads inspired the native poetic-drama form called the komedya, later to be called moro-moro because these often dealt with the theme of Christians triumphing over Moslems (Lumbera, p. 15).

       Jose de la Cruz (1746 – 1829) was the foremost exponent of the komedya during his time. A poet of prodigious output and urbane style, de la Cruz marks a turning point in that his elevated diction distinguishes his work from folk idiom (as for instance, that of Gaspar Aquino de Belen). Yet his appeal to the non-literate was universal. The popularity of the dramatic form, of which he was a master, was due to it being experienced as performance both by the lettered minority and the illiterate but genuinely appreciative majority.

       Francisco Baltazar (1788 – 1862), popularly called Balagtas, is the acknowledged master of traditional Tagalog poetry. Of peasant origins, he left his hometown in Bigaa, Bulacan for Manila, with a strong determination to improve his lot through education. To support his studies, he worked as a domestic servant in Tondo. He steeped himself in classical studies in schools of prestige in the capital.

       Great social and political changes in the world worked together to make Balagtas’ career as poet possible. The industrial revolution had caused a great movement of commerce in the globe, creating wealth and the opportunity for material improvement in the life of the working classes. With these great material changes, social values were transformed, allowing greater social mobility. In short, he was a child of the global bourgeois revolution. Liberal ideas, in time, broke class — and, in the Philippines — even racial barriers (Medina). The word Filipino, which used to refer to a restricted group (i.e., Spaniards born in the Philippines) expanded to include not only the acculturated wealthy Chinese mestizo but also the acculturated Indio (Medina). Balagtas was one of the first Indios to become a Filipino.

       But the crucial element in Balagtas’ unique genius is that, being caught between two cultures (the native and the colonial/classical), he could switch codes (or was perceived by his compatriot audience to be switching codes), provide insight and information to his oppressed compatriots in the very style and guise of a tradition provided him by a foreign (and oppressive) culture. His narrative poem Florante at Laura written in sublime Tagalog, is about tyranny in Albanya, but it is also perceived to be about tyranny in his Filipino homeland (Lumbera).

       Despite the foreign influence, however, he remained true to his native traditions. His verse plays were performed to the motley crowd. His poems were sung by the literate for the benefit of the unlettered. The metrical regularity and rhyme performed their age-old mnemonic function, despite and because of the introduction of printing.

       Printing overtook tradition. The printed page, by itself, became the mnemonic device, the stage set for the development of prose. The first Filipino novel was Ninay, written in Spanish by Pedro Paterno, a Philippine-bornilustrado (Medina p. 93). Following the sentimental style of his first book Sampaguitas (a collection of poems in Spanish), the novel endeavored to highlight the endearingly unique qualities of Filipinos.

       National Hero Jose Rizal (1861 – 1896) chose the realistic novel as his medium. Choosing Spanish over Tagalog meant challenging the oppressors on the latter’s own turf. By writing in prose, Rizal also cut his ties with the Balagtas tradition of the figurative indirection which veiled the supposed subversiveness of many writings at that time.

       Rizal’s two novels, the Noli Me Tangere and its sequel El Filibusterismo, chronicle the life and ultimate death of Ibarra, a Filipino educated abroad, who attempts to reform his country through education. At the conclusion of theNoli, his efforts end in near-death and exile from his country. In the Filibusterismo, he returns after reinventing himself as Simoun, the wealthy jeweler, and hastens social decay by further corrupting the social fabric till the oppressed react violently to overthrow the system. But the insurrection is foiled and Simoun suffers a violent death.

       In a sense, Rizal’s novels and patriotic poems were the inevitable conclusion to the campaign for liberal reforms known as the Propaganda Movement, waged by Graciano Lopez Jaena, and M.H. del Pilar. The two novels so vividly portrayed corruption and oppression that despite the lack of any clear advocacy, they served to instill the conviction that there could be no solution to the social ills but a violent one.

       Following closely on the failed reformist movement, and on Rizal’s novels, was the Philippine revolution headed by Andres Bonifacio (1863 – 1897). His closest aide, the college-bred Emilio Jacinto (1875 – 1899), was the revolutionary organization’s ideologue. Both were admirers of Rizal, and like Rizal, both were writers and social critics profoundly influenced by the liberal ideas of the French enlightenment, about human dignity. Bonifacio’s most important work are his poems, the most well-known being Pag-Ibig Sa Tinubuang Lupa. Jacinto wrote political essays expressed in the language of the folk. Significantly, although either writer could have written in Spanish (Bonifacio, for instance, wrote a Tagalog translation of Rizal’s Ultimo Adios), both chose to communicate to their fellowmen in their own native language.

       The figure of Rizal dominates Philippine literature until the present day. Liberalism led to education of the native and the ascendancy of Spanish. But Spanish was undermined by the very ideas of liberation that it helped spread, and its decline led to nativism and a renaissance of literature in the native languages.

       The turn of the century witnessed not only the Philippine revolution but a quieter though no less significant outbreak. The educated women of the period produced significant poetry. Gregoria de Jesus, wife of Andres Bonifacio, wrote notable Tagalog poetry. Meanwhile, in Vigan of the Ilocano North, Leona Florentino, by her poetry, became the foremost Ilocano writer of her time.

About the Authors:

Francis C. Macansantos

REFLECTION
Before when Spaniards came to the Philippines. They were a great threat. But later on, they have introduce the Christianity which is now the religion of the Philippines. Let’s face it that Spaniards has a good impact towards our country. They help us with our way of living. It is only the muslims they haven’t colonized because the muslims are well armed and they would really face war. Actually the  Spaniards were just here in the Philippines to find spices. Because as they know Philippines has a lot of spices. But due to the great islands they have decided to colonized us. 

Pre Colonial Period with reflection

Pre Colonial Period

Our ancestors were economically self-sufficient. They produced what they needed. They engaged in various industries. Many of their products reached neighboring countries such as Siam, Cambodia, India, China, Japan, Borneo and the Moluccas.Agriculture. There used to be two systems of farming the dry or kaingin method and the wet or irrigation method. The development of the intricate rice terraces remains a hydraulic engineering marvel to many.

Our ancestors not only raised crops but also medicinal herbs. They raised poultry and domestic animals. They recognized the existence of public and private property. The mountainsides and less arable lands were the property of the barangay or public property, which meant that they were open to everyone who wanted to till them. The cultivated lands were the property of private individuals.These private lands were acquired by inheritance, purchase and occupation. Industries. While farming was the primary industry, early Filipinos engaged in other industries. Some were still engaged in hunting and fishing, the latter being a gainful occupation because of the geography of the country. The inland seas, rivers and lakes abounded in marine life.Our forefathers knew a great deal in shipbuilding. They obtained timber from the virgin forests (lumbering) and made small fast sailing boats called barangays and virreys and large vessels called tapaques, caracaos, and lapis. Handicrafts, such as earthen pottery , weaving and blacksmithing were well developed. Mining was an important industry. The people were skillful artisans in jewels and gold. They also knew metalwork as seen in the manufacture of their tools and weapons. They also spun and wove cloths out of abaca, cotton, maguey, banana. 

REFLECTION

it is just that our ancestors wre very skillful and very intelligent before. We have a brilliant mind to know what are the things being done before long ago. 

El Filibustersimo with reflection

This novel is a sequel to the Noli. It has a little humor, less idealism, and less romance than the Noli Me Tangere. It is more revolutionary and more tragic than the first novel.

The story of El Filibusterismo begins on board the clumsy, roundish shaped steamer Tabo, so appropriately named. This steamer is sailing upstream the Pasig from Manila to Laguna de Bay. Among the passengers are Simoun, the rich jeweler; Doña Victorina, the ridiculously pro-Spanish native woman who is going to Laguna in search of her henpecked husband, Tiburcio de Espadaña, who has deserted her; Paulita Gomez, her beautiful niece; Ben-Zayb, a Spanish journalist who writes silly articles about the Filipinos; Padre Sibyla, vice-rector of the University of Santo Tomas; Padre Camorra, the parish priest of the town of Tiani; Don Custodio, a pro-spanish Filipino holding a position in the government; Padre Salvi, thin Franciscan friar and former cura of San Diego; Padre Irene, a kind friar who was a friend of the Filipino students; Padre Florentino, a retired scholarly and patriotic Filipino priest; Isagani, a poet-nephew of Padre Florentino and a lover of Paulita; and Basilio, son of Sisa and promising medical student, whose medical education is financed by his patron, Capitan Tiago.

Simoun, a man of wealth and mystery, is a very close friend and confidante of the Spanish governor general. Because of his great influence in Malacañang, he was called the “Brown Cardinal” or the “Black Eminence”. By using his wealth and political influence, he encourages corruption in the government, promotes the oppression of the masses, and hastens the moral degradation of the country so that the people may become desperate and fight. He smuggles arms into the country with the help of a rich Chinese merchant, Quiroga, who wants very much to be Chinese consul of Manila. His first attempt to begin the armed uprising did not materialize because at the last hour he hears the sad news that Maria Clara died in the nunnery. In his agonizing moment of bereavement, he did not give the signal for the outbreak of hostilities.

After a long time of illness brought about by the bitter loss of Maria Clara, Simoun perfects his plan to overthrow the government. On the occasion of the wedding of Paulita Gomez and Juanito Pelaez, he gives a wedding gift to them a beautiful lamp. Only he and his confidential associates, Basilio know that when the wick of his lamp burns lower the nitroglycerine, hidden in its secret compartment, will explode, destroying the house where the wedding feast is going to be held killing all the guests, including the governor general, the friars, and the government officials. Simultaneously, all the government buildings in Manila will be blown by Simoun’s followers.

As the wedding feast begins, the poet Isagani, who has been rejected by Paulita because of his liberal ideas, is standing outside the house, watching sorrowfully the merriment inside. Basilio, his friend, warns him to go away because the lightened lamp will soon explode.

Upon hearing the horrible secret of the lamp, Isagani realizes that his beloved Paulita was in grave danger. To save her life, he rushes into the house, seizes the lightened lamp, and hurls it into the river, where it explodes.

The revolutionary plot was thus discovered. Simoun was cornered by the soldiers, but he escaped. Mortally wounded, and carrying his treasure chest, he sought refuge in the home of Padre Florentino by the sea.The Spanish authorities, however, learns of his presence in the house of Padre Florentino. Lieutenant Perez of the Guardia Civil informs the priest by letter that he would come at eight o’clock that night to arrest Simoun.

Simoun eluded arrest by taking poison. As he is dying, he confesses to Padre Florentino, revealing his true identity, his dastardly plan to use his wealth to avenge himself, and his sinister aim to destroy his friends and enemies.The confession of the dying Simoun is long and painful. It is already night when Padre Florentino, wiping the sweat from his wrinkled brow, rises and begins to meditate. He consoles the dying man saying: “God will forgive you Señor Simoun. He knows that we are fallible. He has seen that you have suffered, and in ordaining that the chastisement for your faults should come as death from the very ones you have instigated to crime, we can see His infinite mercy. He has frustrated your plans one by one, the best conceived, first by the death of Maria Clara, then by a lack of preparation, then in some mysterious way. Let us bow to His will and render Him thanks!”Watching Simoun die peacefully with a clear conscience and at peace with God. Padre Florentino falls upon his knees and prays for the dead jeweler. He takes the treasure chest and throws it into the sea; as the waves close over the sinking chest.

REFLECTION 

The hero of El Filibusterismo is a rich jeweler named Simoun. He was Crisostomo Ibarra of the Noli, who, with Elias’ help, escaped from the pursuing soldiers at Laguna de Bay, dug up his buried treasure, and fled to Cuba where he became rich and befriended many Spanish officials. After many years he returned to the Philippines, where he freely moved around. He is a powerful figure not only because he is a rich jeweler but also because he is a good friend and adviser of the governor general.Outwardly, Simoun is a friend of Spain. However deep in his heart, he is secretly cherishing a terrible revenge against the Spanish authorities. His two magnificent obsessions are to rescue Maria Clara from the nunnery of Santa Clara and to foment a revolution against the hated Spanish masters.

Noli Me Tangere

The title of this novel "Noli Me Tangere" is a Latin words meaning in tagalog HuwagMo Akong Salingin. Jose Rizal, our national hero is the writer of this novel, where in, this novel was written during his time, he was in Madrid taking up medicine when he write this novel. When he finished his course he went to Paris and continue writing this novel. In Berlin , Jose Rizal finished the last part of this novel. This novel was written to remind us the bad things that Jose Rizal experienced during his time by the Spanish. From the very start of this novel, the first plan of our national hero is, to write this novel with the help of his countryman that is also suffering to the hands of the Spanish, but suddenly he failed to do it with the help of his countryman, because his countryman loose their hope in fulfilling their dreams to have freedom in the hands of the Spanish colonies. Jose Rizal, did not give up, because he continue write this novel without the help of his countryman, and he decided to write it by himself only. The first chapter of this novel was entitled the paging, where in, in this chapter stated the lifestyle of Don Santiago de los Santos also known as Kapitan Tiago, he was from Binondo and he was the step father of Maria Clara according to this chapter. In this chapter, the other characters was Padre sibyla, Padre Damaso, and Tenyente Guevarra. According to this chapter, kapitan tiago invited the said characters to go to his house and have asimple gathering, but suddenly it came to a fight between Padre Damaso and Tenyente Guevarra because of the ereheng namatay. Padre Sibyla stops the rivalry between the two. The secondchapter was entitled Ang binatang si Crisostomo. Where in, this chapter, Kapitan Tiago present Don

Crisostomo Ibarra to the priest, the son of his deceased friend named Don Rafael Ibarra.

The Legend of the Banana

The legend of the Banana

Long ago, there were group of british people who visit the philippines. To conduct a survey. But before they’ve conducted survey the filipinos offer a snack. The snack looks like a 1 bundle of fruit with a curvey form. The british ask the filipinos what is the name of the fruit? The filipinos replied, “ we don’t know what’s the name of this fruit, but we assure you that this food is delicious.” The Filipinos said that, “there are many different culture who visits our country, they’ve taste and like the fruit but they can’t give a name of it Then, the british people ate the fruit and they were amazed of the taste and they like it. After eating the fruit, the british people people think and watch the area of the philippines so they’ve  decided to make a name of the fruit. They saw that the fruit was in a sagg form. So they decided to name it SAGGING because during on their survey in the Philippines, the area has a lot of sagging angles. And sagg means curve or decline to a lower level. So, that’s why they named it Saging.

Moral Lesson

The moral lesson of the story is being  hospitable. Because we as Filipinos are very hospitable every now and then to our kind. We are friendly and generous to everyone.