PHILIPPINE LITERATURE

MODULE 3 Literature of Various Regions

TIME ALLOTMENT 14 hours

INSTRUCTOR Ms. Marissa P. Panogaling

FACEBOOK Marissa Delejero Permalan

EMAIL [email protected]
CELL NUMBER

I. OVERVIEW
People read literature for information, for amusement, for higher and keener pleasure, for cultural
upliftment and for discovery of broader dimensions in life (Nuggets, 2004).
In the previous discussions, it was obviously emphasized that studying literature is important because
it reveals part of the history of every nation. Hence, history and literature are interrelated with each other.
According to Sahr (2015), history is not just about power struggles, wars, names, and dates. It is also about
people who are products of their time, with their own lives.
In the Philippines, it is very obvious that every region has its own unique literature that discloses the
culture, beliefs, traditions, customs, and lifestyles of the individuals or ethnic tribe living in a specific region.
Studying each region’s literature may result to the appreciation of the beauty of the works of the various
Filipino writers, and better understanding of the context of culture and of human nature. The values learned
by the students from the literary pieces maybe applied in their own lives as they encounter circumstances
along the way.
II. TARGETED COURSE LEARNING OUTCOME
CLO1 Enhance oral and written communicative competence in English and in Filipino through various
interactive activities with the aid of ICT.
CLO3 Apply insights and values learned through portraying an appropriate and dignified manner and having
respect to diverse culture, gender preference, and disabilities of every individual.
CLO4 Discover social issues in the literary pieces from various region with open-mindedness, fairness, and
critical- mindedness.
CLO6 Compose original literary masterpieces that enhance the soft skills of the students in relation to
environmental and ecological preservation and sensitivity using proper language in multilingual and
multicultural contexts.
CLO7 Manifest CHMCSIAN values and social responsibilities in all endeavors for the development of humane
society.
III. TARGETED TOPIC LEARNING OUTCOME
At the end of the lesson, the students should:
1. Analyze famous literary works of various Filipino writers from each region for presentation in a class
forum using the appropriate literary theories.
2. Compare and contrast literary pieces of various regions.
3. Present literary pieces relevant to the genre of literary pieces discussed.
4. Apply the values learned from the literary pieces discussed.
IV. ASSESSMENT
1. Bring Back Memories
2. Know me, Complete me!
3. Short Story Analysis
4. Poetry Analysis
5. Short Story Analysis
V. TEACHING-LEARNING ACTIVITIES
A. ENGAGE
Learning Activity 1: Bring Back Memories!
Instructions: Recall the most unforgettable moment of your life. Answer the questions.

1. What was the most unforgettable experience you have had so

far?
2. When and where did it happen?
3. Who were the people involved?
4. Was there a conflict? What was it?
5. What did you do to resolve the conflict?
6. What did you learn from the experience?

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 B. EXPLORE

Learning Activity 2. Know me, Complete me!

Instructions. The following are famous literary works of various Filipino writers. Write the name
of the Filipino writers in the space provided. Your task is to complete the data of the table below.

LITERARY WORK WRITER

1. Morning in Nagrebcan

2. Faith, Love, Time, and Dr. Lazaro

3. The Bread of Salt

4. Early Harvest

5.The Clay Pipe

6.The Tracks of Babylon

7.The List Miracle

8.The White Horse of Alih

9.Elegy for a tortoise

10.Love in the Cornhusks

 Read and Grasp…

I. LITERATURE OF VARIOUS REGIONS

REGION 1 Ilocos Region

Region 1 or the Ilocos Region is composed of provinces and a city - Ilocos Norte, Ilocos Sur, LaUnion,
and Pangasinan. What binds this area together is the language which is Ilocano. It is thethird largest spoken
language in the Philippines. Although it is called Ilocos region, not all of the inhabitants of Region I are
Ilocanos. There are 66%of Ilocano speakers, 27% Pangasinan speakers and3% of Tagalog speakers of the
region. In Ilocano language, the terms "Iloko" and "Ilocano" are different. Generally, "Iloko" is the language
while"Ilocano" refers to the people or the ethnicity of thepeople who speak the Iloko language. The term
Ilokano originates from i-, "from", and looc,"cove or bay", thus "people of the bay." Ilokanos also refer to
themselves as Samtoy, a contraction from the Ilokano phrase sao mi ditoy, "our language here". It was first
inhabited bythe aboriginal negritos before they were pushed by successive waves of
Malay/Austronesianimmigrants that entered the narrow coast. Families and clans arrived by viray or bilog,
meaning"boat". Which is why, Ilocos means “people in the river”.Literature is the body of works, both oral
and written, that Filipinos, whether native,naturalized, or foreign born, have created about the experience of
people living in or relating toPhilippine society. The literature of Ilocos region pertains to the literary works
of the writers ofIlocano ancestry regardless of the language used – Iloko, English, Spanish or other foreign
andPhilippine languages.Its literature is known as one of the most colorful regional Filipinoliteratures and the
most active tributaries to the general Philippine literature. The Ilocanoliterature is purely alive in form of
written and oral literature. There are hundreds of publishedIlocano writers from the time Ilocano literature
emerged through the efforts of Ilocano ilustradosin the 18th century to the present and there are chosen
writers in the past centuries who really arefamous because of their works. The following list of famous writers
during past centuries are; Pedro Bucaneg, Leona Florentino, Isabelo de los Reyes and Manuel E. Arguilla,
Carlos Bulosan, and Francisco Sionil José.

CORDILLERA AUTONOMOUS REGION (CAR)

The Cordillera Administrative Region (CAR) was established on July 15, 1987 through executive Order
No. 220 issued by President Corazon Aquino. It is the only land-locked region of the Philippines. The region
consists of the provinces of Abra, Benguet, Ifugao, Kalinga, Mountain Province and Apayao. The regional
center is Baguio City. Cordillera is one of the prime tourist destinations in the Philippines. It has many
spectacular scenic views and enchanting cool places. Baguio City is the summer capital of the Philippines. The
world-famous Banaue Rice Terraces in the province of Ifugao is considered as the “Eighth Wonder of the
World”. This structure of about 2000 to 6000 years old is a UNESCO World Heritage Site. Other tourists’
attractions of the region include the Sumaguing Cave in Sagada and the mummy caves in Benguet and Mt.
Province. There are four National Parks in the region: Cassamata Hill, Mount Pulag which is the highest
mountain in Luzon, Mount Data and Balbalasang-Balbalan.
Because of the various cultures of the people living in Cordillera, there are also various literature.
Oration is commonly found in the region. Myths and legends are also found in the Cordillera.
Some of the famous literary works of this region are Hudhud (epic), Ullalim (ballad), Dangdang-Ay
(song), The Giantess and Three Children (short story), Wedding Dance (short story), Agga a ya agge a (song),
Canao (ritual)and Tuingguian Flood Myth (myth). Amador T Dagiuo is one of the famous writer of the region.

REGION 2 Cagayan Valley

The most important event in the history of Cagayan Valley took place in 1572 when Spanish
Conquistador Don Juan de Salcedo traced the northern coast and landed at the mouth of the Pamplona River.
Before his visit, early Cagayanos reveled in a civilization of their own. Cagayan Valley abounds with natural
resources and exudes with development potentials that consist of rich agricultural areas, forestland and
grasslands, inland and marine resources.
Geographically, the valley is located at the northeastern part of mainland Luzon covering an area of
about 26,858.79 square kilometers making it the 2nd largest region in the country. Bounded with the Pacific
Ocean in the east and the protective mountain range of Cordillera on the west and Caraballo Mountain, the
provinces of Nueva Ecija and Aurora on the south. Between the ranges is the valley where most of the
population live and is criss-crossed by the mighty Cagayan River, the longest and widest in the country and
its tributaries, which flow into the Babuyan Channel in Aparri. The Pacific Ocean on the east cost and the
Babuyan Channel on the north also skirt the mainland.The Batanes group of island is located at the
northernmost tip of the Philippine Archipelago surrounded by Bashi Channel on the north, Pacific Ocean on
the east, Balintang Channel on the south and China Sea on the west.
Cagayan Valley Region is composed of five provinces - Batanes, Cagayan, Isabela, Nueva Vizcaya and
Quirino and three cities - Cauayan, Santiago and Tuguegarao.
Famous writers of Region 2 are Reynaldo Duque, Benjamin Pascual, Greg Laconsay, Rogelio Aquino,
Marcelino Foronda Jr., Benigno Ramos, Editha Tiempo, Fernando Maramag, Erwin Castillo and Manuel F.
Lacaba.

REGION 3-Central Luzon

Region 3 is an administrative region in the Philippines, primarily serving to organize the 7 provinces of
the vast central plain of the island of Luzon (the largest island), for administrative convenience. The region
contains the largest plain in the country and produces most of the country's rice supply, earning itself the
nickname "Rice Granary of the Philippines". Its provinces are: Aurora, Bataan, Bulacan, Nueva
Ecija,Pampanga, Tarlac and Zambales.
Central Luzon Region is located north of Manila, the nation's capital. Bordering it are the regions of
Ilocos, Cordillera Administrative Region and Cagayan Valley to the north; National Capital Region,
CALABARZON and the waters of Manila Bay to the south; South China Sea to the west; and the Philippine Sea
to the east. There are fourteen cities in the region: Balanga in Bataan; Malolos, Meycauayan and San Jose del
Monte in Bulacan;Cabanatuan, Gapan, Muñoz, Palayan and San Jose in Nueva Ecija; Angeles, Mabalacat and
San Fernando in Pampanga; Tarlac in Tarlac; and Olongapo in Zambales. Central Luzon produces the most rice
in the whole country. Excess rice is delivered and imported to other provinces of the Philippines. The City of
San Fernando, in Pampanga, is the regional center. Aurora was transferred from Region IV through Executive
Order No. 103 on May 2002.
Famous writers of Region 3 are Virgilo S. Almario, Julian Cruz Balmaceda, Aurelio Tolentino, Jose
Corazon de Jesus, Aniceto dela Merced, Marcelo del Pilar, Francisco Baltazar, Florantino Collantes, Teodoro
Gener, Cirio H. Panganiban, Valeriano Hernandez Peña

REGION 4 CALABARZON and MIMAROPA

CALABARZON is one of the regions of the Philippines. It is also designated as Region IV-A and its regional
capital is Calamba City in Laguna. The region is composed of five provinces, namely: Cavite, Laguna, Batangas,
Rizal, and Quezon. The region's name is an acronym of the names of these provinces. It might just be an hour
or two away, but the diverse topography and varied natural attractions make this region interesting. Beaches
and dive spots. Forests and caves. Mountains and hills. Waterfalls and hot springs. It’s all here. This is the
home of Laguna de Bay – the country’s largest freshwater lake. It also boasts of Taal Lake, which contains the
world’s smallest active volcano. Because of its proximity to the national capital, CALABARZON has seen steady
industrial growth and urbanization in recent years. But the local culture is still very much alive. Historical
landmarks, monuments, old churches, and shrines dot the region’s landscape. The area is rich in history. It’s
where the Philippines’ independence from Spain was first declared in 1898. It’s the birthplace of national
heroes such as Jose Rizal (from Calamba, Laguna), Emilio Aguinaldo (from Kawit, Cavite), Apolinario Mabini
(from Tanauan, Batangas) and Miguel Malvar (from Sto. Tomas, Batangas).
 CALABARZON is also rich in cultural traditions. Laguna is known for embroidery, wood carving, and
papier-mâché (locally known as taka). Quezon has harvest festivals and flamboyantly decorated houses. Rizal
has artisan villages and art galleries. It’s a colorful region.
MIMAROPA. The name of this region is an acronym that combines the names of its provinces: Occidental
Mindoro, Oriental Mindoro, Marinduque, Romblon and Palawan. With its National Parks, World Heritage
Sites, protected marine areas and even wild safari parks, the MIMAROPA region is definitely something
different. You won’t find big cities, bustling highways, or traffic jams here. You will find rugged roads, palm-
fringed beaches, and peace and serenity.
Famous writers are Jose Rizal, Efren Abueg, Ildefonso Santos, Apolinario Mabini, N.V.M. Gonzales, Teo
Baylen, Buenaventura Medina Jr., Lope K. Santos, Bienvenido Lumbera at Celso Al Carunungan.

REGION 5 BIKOL
Bikol is the language of almost 5 million people in the provinces of Albay, Camarines Norte, Camarines
Sur, Catanduanes, Masbate and Sorsogon that constitute the Bikol Region. The Bikol people have a writing
tradition with roots in its ancient folkways. Still extant are charm verses exploiting the possibilities of words
in folk poems and narratives with mythical content, and bound with early historical fragments which form
part of the people’s lives.
Colonization stifled native writing, however. Only after about two centuries later did the people begin
to write poems and plays adapted from Biblical stories – this time in the Spanish writing system. These
dramatic tropes were street presentations during May festivals, Christmas, Easter and Lent. In 1890, the first
Bikol newspaper An Parabareta (the Newsman) was published by Mariano Perfecto, who also established the
first printing press. Corridos or metrical romances became the main reading fare for many years. The comedia
or moro-moro stayed for a long time. Almost every town boasted of a comedia writer and a theater group.
The Commonwealth Period were years of poetic and dramatic productivity. The zarzuela did not escape the
Bikol’s questioning bent. Asisclo Jimenez’s Pagkamoot sa Banuang Tinoboan (Love for the Native Land)
demonstrated that national change can be affected through armed revolt. Jimenez wrote 25 other zarzuelas
in varying themes, mostly social criticism. Crowds would attend the presentations. By the mid-thirties,
shorter plays became the fashion. The rawitdawit or narrative poem was a vehicle of social and political
criticism. Personal poems were most plentiful. The period also produced about twenty translations of Jose
Rizal’s Mi Ultimo Adios to Bikol. Four poets and their works stand out: Manuel Fuentebella’s An Pana (The
Arrow), Clemente Alejandria’s Pagaroanggoyong(Perseverance), Eustaquio Dino’s Balosbalos Sana
(Retribution) and Mariano Goyena’s Hare…Dali (No…Don’t). Great sensitivity and exquisite images are marks
of these poems, reaching up to lyricism.
Famous writers are Merlinda Bobis, Graciano Lopez Jaena, Angela Manalang-Gloria, Recardo Demetillo,
Agustin Misola at Abdon Balde.
The seasoned writers include Luis Cabalquinto, Gode Calleja and Ruby Alano. The young writers are
Home Life magazine winners Angelica Gonzales, Honesto Pesimo, Jazmin Llana, Victor Velasco, Nino Manaog,
Xavier Olin and Cynthia Buiza. Emelina G. Regis has a Palanca Award for her environmental play Dalawang
Mukha ng Kagubatan (Two Faces of the Forest). Barbara Barquez Ricafrente writes poems and paints with
rage. She is the first novel awardee of the U.P. Creative Writing Center.

REGION 6 Western Visayas

Hiligaynon is the lingua franca of the West Visayas in Central Philippines. Politically labeled Region 6,
West Visayas is composed of the provinces of Iloilo, Capiz, Antique and Aklan on the island of Panay; Negros
Occidental, the western half of the island of Negros; and the new island-province of Guimaras which used to
be a sub-province of Iloilo.
The mother language of West Visayas is Kinaray-a or Hiraya, the language spoken by the central and
southern towns of Iloilo, all of the province of Antique and most of Capiz. Hiligaynon is spoken in Iloilo City in
all the coastal towns north of Iloilo City, in all of Guimaras, in most of Roxas City in Capiz, and in Bacolod City
and most of the towns of Negros Occidental. The language is also spoken in South Cotabato, in Mindanao,
where many West Visayans have migrated. The northern towns of Negros Occidental speak Cebuano or
Sugbuanon, the lingua franca of Central Visayas. The province of Aklan speaks Aklanon which, like Hiligaynon,
developed from Kinaray-a.
Though distinctly different from Hiligaynon, Kinaray-a and Aklanon are conveniently considered by
many linguists and literary researchers as subsumed in the lingua franca. Current writers in Kinaray-a and
Aklanonhave shown that it is not so.
Purely oral, West Visayan literature before the coming of the Spaniards was in Kinaray-a which must
have been the language in folk literature of the ten Bornean datus who, according to the folk account of the
Maragtas,got the island of Panay from the aboriginal Ati in exchange for a headgear of gold and a necklace
that touched the ground.
Folk literature ranges from brief riddles, proverbs, ditties, ritual chants to elaborate love songs, tales
and extensive epics. A poem is called binalaybay and the tale is the asoy or the sugilanon.
The paktakon is a riddle while the hurubaton is a proverb. Both are usually in two lines and rhymed.
Folksongs may be as simple as the ili-ili or lullaby or as intricate as the ambahan, a long song alternately
sung by a soloist and a chorus; the siday which can be a long poetic joust between two paid poets respectively
representing the two families in a marriage suit (siday sa pamalaye); or a balitaw, a jocose love song sung in
a debating manner by a man and a woman.
The asoy may be a legend or a tale about a folk hero or a local happening. Foremost among the Panay
epics are the Labaw Donggon and the Hinilawod.
Ritual chants are delivered by the babaylan or healer to please the diwata or supernatural beings or
spirits in exchange for good health and luck in the home and the fields during planting and harvest seasons.
The coming of the Spaniards and the conversion of the people to Christianity produced new forms of folk
literature. Written literature also started, first with translations of Spanish texts of prayers and lives of the
saints.
Tracing their origins to the Spanish times are the luwa, the witty quatrain recited by the loser of the
bordon,the most popular game during the belasyon or vigil for the dead; and the composo, the ballad that
sings the life of a folk hero or a significant incident in the community.
Religious literature flourished during the Spanish times. The Flores de Mayo is a devotional song-prayer
held throughout the month of May characterized by singing hymns to the Virgin Mary and offering flowers.
The Pasyon, which recounts the suffering of Christ, is chanted during the Holy Week.
The gozos of the novena, the nine-day devotional prayer to a saint, stresses Christian virtue or recounts
incidents in the life of Christ and the Virgin Mary.
Always part of the feast in honor of the patron saint is the coronation of the fiesta queen. The local poet
then delivers the pagdayaw, an extensive ode praising the queen’s beauty and virtue.
Purely secular is the corrido, actually a medieval romance brought by the Spaniards. Most popular
corridoin West Visayas is Rodrigo de Villas.
Two theater forms developed during the Spanish times. The moro-moro is full of action but is no more
than a morality play celebrating the victory of the Christians against the Moros. The zarzuela is a musical but
later made a vehicle for subversive activities.
The establishment of Imprenta La Panayana in Iloilo City late in the nineteenth century by a Bicolano,
Mariano Perfecto, engineered written Hiligaynon literature. With his Pasyon, novenas and corridos, Perfecto
published Almanake Panayanhon (Panayan Almanac), the all-time Hiligaynon best-seller. Almanake, which
published literary works by most of the early Hiligaynon writers, is still being published today by the Perfecto
heirs.
The coming of the Americans saw the so-called Golden Age of Hiligaynon literature even if the orientation
was still heavily Spanish– didactic and Roman Catholic though strongly nationalistic.
The relatively short period from the 1920’s to the coming of the Japanese is considered the Golden Age.
This produced Angel Magahum (first novelist for Benjamin), poet Delfin Gumban, poet Serapion Torre, poet-
translator (from Spanish) Flavio Zaragoza Cano, essayist-journalist Rosendo Mejica, zarzuela masters Jose Ma.
Ingalla and Jose Ma. Nava, playwright Miguela Montelibano, novelist-poet Magdalena Jalandoni, essayist
Augurio Abeto and Abe Gonzales, and the young novelist Ramon L. Musones and poet Santiago Alv. Mulato.
The triumvirate of Gumban, Torre and Zaragoza Cano ruled it out for years in poetry, their rivalry magnified
by the public balagtasan or poetic joust. The establishment of Hiligaynon magazine by Liwayway Publications
in Manila and of the Makinaugalingon Press by Rosendo Mejica in Iloilo City further strengthened Hiligaynon
literature.
Jalandoni, Muzones, Gonzales and Mulato wrote their way through the Japanese Occupation and on to
the fifties and the sixties which saw two new novelists, Jose E. Yap and Conrado Norada. The establishment
ofYuhum magazine in Iloilo City by La Defensa Press and of the short-lived Kasanag by Diolosa Publications,
kept literature not only alive but strong. Big names were Ramon L. Muzones, Santiago Alv. Mulato, Conrado
Norada, Abe Gonzales and the forever versatile Magdalena Jalandoni. Jose E. Yap had started his series of
science-fiction novels. New names came like Hernando Siscar , Antonio Joquiño and Isabelo Sobrevega.
The influence of English literature, especially in the short story, became pronounced in the 1960’s
whenHiligaynon writers became more aware of formalist guidelines like characterization, local color and
irony. The short story became popular while the novel with Muzones, Yap and Norada at the helm kept its
position. Emerging from the sixties are important names of the present: Nilo P. Pamonag, Lucila V. Hosillos,
Mario L. Villaret, Romeo Garganera, Ner E. Jedeliz, Jr., Quin Baterna and Jose Ali Bedaño who wrote under
the name of Julius Flores. Two prominent women novelists are Ismaelita Floro-Luza of Roxas City and Ma.
Luisa Defante-Gibraltar of Bacolod.
Yuhum stopped publication in the sixties and resumed during Martial law. Hiligaynon closed during
Martial law and resurrected in 1989.
The Cory Revolution of 1986 is an important milestone in the history of Hiligaynon literature. Because of
the new management of the Cultural Center of the Philippines and the creation of the Presidential
Commission for Culture and the Arts which later became the National Commission for Culture and the Arts,
new writing and new writers have been born. The CCP and the NCCA have become truly the people’s patrons
of the arts by paving the way for the creation of regional and local art councils, providing writing grants to
writers of marginalized languages, supporting workshops and publications and conferring awards.
Competitions likewise have had their share in the ferment of new writing. Most significant is the inclusion of
the Hiligaynon short story, alongside that of Cebuano and Iluko, in the Palanca Awards since 1997.
The Cory Revolution has also ushered in these historical landmarks in the literature of West Visayas:
The emergence of Kinaray-a writing;
The emergence of Aklanon writing;
The emergence of writing in Filipino which is Visayan-based;
The ferment of campus writing in these languages;
The emergence of multilingual writing in the region.
Important young writers in West Visayas today include: Hiligaynon– Alicia Tan-Gonzales, Peter Solis Nery,
Edgar Siscar, Resurreccion Hidalgo, Alfredo Siva, Alain Russ Dimzon; Kinaray-a — Ma. Milagros C. Geremia
Lanchica, Alex C. de los Santos, John Iremil E. Teodoro, Jose Edison C. Tondares, Maragtas S. V. Amante, Ma.
Felicia Flores; Aklanon –– Melchor F. Cichon, Alexander C. de Juan, John E. Barrios.
All these writers are either bilingual or multilingual. It should also be understood that West Visayas has
produced a big number of writers in English and a few very good writers in Spanish, but they are not included
here.

REGION 7 Central Visayas

Central Visayas, designated as Region VII, is a region of the Philippines located in the central part ofthe
Visayas island group. It consists of four provinces (Bohol, Cebu, Negros Oriental, and Siquijor) andthe highly
urbanized cities (Cebu City, Lapu-Lapu City, and Mandaue City). The region is dominated bythe native
speakers of Cebuano. Cebu City is its regional center.
The name of the region was derived to denote the centrality of the islands within the bigger Visayasarea. The
name was mostly chosen by American colonialists. There have been proposals to renamethe current Central
Visayas region, which is dominated by the Sebwano ethnic group, into Sugburegion, the former name of the
region prior to Spanish colonization in the 16th century. The term is inreference to the former kingdom of the
region, the Rajahnate of Cebu, which is simply called as Sugbu in native Sebwano.
National/Local Artists
Napoleon V. Abueva, a native of Bohol, was the youngest National Artist awardee, considered as the
Father of Modern Philippine Sculpture.
Michael Obenieta, born in Cebu, Philippines and a truly Cebuano indeed, he writes poetry and prose in both
Cebuano and English, and has been recognized as the most creative editor in the 2005 in house awards of sun
star cebu ,and for his work in the same publication catholic mass media awards of the same year.
Cristina “Kitty” Taniguchi, a champion of feminine aesthetic and is among the few Filipina painters who
had successfully intruded upon a male-dominated art world—a feat back then. who has devotedly explored
and experimented themes of femininity and all of women representations that challenged the perception
and interpretation of social and cultural conventions.
Susan Canoy, a Dumaguete artist who is known for her arts and crafts. As a single mother, she
relentlessly pursues her art to express herself and to provide for her family.
Famous writers are Piux Kabahar, Simeon Dumdum Jr., Lina Espina Moore, Estrella D. Alfon, Marjorie
Evasco, and Edilbero Tiempo.

REGION 8 Eastern Visayas

Eastern Visayas lies on the east focal segment of the Philippine archipelago. It involves two principle islands,
Leyte and Samar, which frame the easternmost bank of the archipelago. It is limited on the east and north by
the Philippine Sea with the San Bernardino Strait isolating Samar island from southeastern Luzon; on the west
by the Camotes and Visayan oceans, and on the south by the Bohol Sea with the Surigao Strait isolating Leyte
island from northwestern Mindanao. It has an aggregate area zone of 2,156,285 hectares (5,328,300 sections
of land) or 7.2% of the nation's aggregate area zone. 52% of its aggregate area zone are delegated forestland
and 48% as alienable and expendable area. It covers 6 provinces, namely, Biliran, Eastern Samar, Leyte,
Northern Samar, Samar, and Southern Leyte, as well as 1 highly urbanized city. The regional center is the City
of Tacloban.
The main languages spoken are Cebuano and Waray-Waray (speakers of these languages also call their
languages "Visayan"). A third language known as Inabaknon is spoken in the island of Capul in Northern
Samar. Some claim the existence of another speech variety known as Sagul spoken on the island of Biliran
and is in actuality a mix of both Cebuano and Waray. However, others claim that 'Sagul' is just codeswitching
rather than a separate language. The word 'sagul' means mixed in the Waray-Waray language and may simply
refer to the practice of mixing up both Waray-Waray and Cebuano which are spoken in Biliran.
Famous writers are Merle Alunan, Eduardo Makabenta, Timothy Montes, Jaime C. de Veyra, Carlos Angeles,
and Pedro Zapanta.

REGION 9 Zamboanga Peninsula

Zamboanga Peninsula is an authoritative district in the Philippines, assigned as Region IX. The region consists
of three provinces (Zamboanga del Norte, Zamboanga del Sur, and Zamboanga Sibugay) and two autonomous
urban areas (Isabela City and Zamboanga City). The area was already known as Western Mindanao before
the establishment of Executive Order No. 36 on September 19, 2001. The city of Pagadian is the territorial
focus. Along the shores of the promontory are various coves and islands. The promontory is associated with
whatever is left of Mindanao through an isthmus arranged between Panguil Bay and Pagadian Bay. Its region
comprises of the three Zamboanga regions and the city of Zamboanga, and the limit between the promontory
and territory is falsely set apart by the outskirt between the areas of Zamboanga del Sur and Lanao del
Norte.The Zamboanga Peninsula region has various dialects spoken like; Bisaya, Tagalog, Tausug, Maranao,
Subanen, Ilocano and Chavacano.Famous writers are Ignacio Enriquez, Olivia Acas, Gonzalo Villa, Antonio
Descallar, and Antonio Enrique.
REGION 10 Northern Mindanao
Northern Mindanao has an aggregate area territory of 2,049,602 hectares (5,064,680 acres). More than 60%
of Northern Mindanao's aggregate area zone are named woodland land. Its oceans flourish with fish and
other marine items. The economy of Northern Mindanao is the biggest provincial economy in the island of
Mindanao. The economy in Northern Mindanao is fundamentally agrarian. Yet, there is likewise a blasting
development of enterprises especially in Cagayan de Oro and in Iligan. The well known Del Monte Philippines
situated in the Province of Bukidnon and its preparing plant is situated in Cagayan de Oro, which dispatched
to the whole Philippines and Asia-Pacific district. The Agus-IV to VII Hydroelectric Plants in Iligan and Balo-i,
Lanao del Norte supplies a large portion of its electrical force in Mindanao. Provinces of Northern Mindanao
include Bukidnon, Camiguin, Lanao del Norte, Misamis Occidental and Misamis Oriental. Languages spoken
by the people are Cebuano, Tagalog, Dabawenyo, Hiligaynon, Bagobo, Tagacaolo, Manobo, Maguindanao,
Mandaya, Bilaan, Ilocano, Waray and others. Famous writers are Lina Espina-Moore, Emmanuel Lacaba,
Francisco Demetrio, Miguel Bernad, Don Agustin Pagusara, Albert Alojo, Jose F. Lacaba.

REGION 11 Davao Region

Otherwise known as Region 11, Davao Region is composed of 4provinces namely: Compostela Valley, Davao
Oriental, Davao DelNorte, and Davao Del Sur. It is located in the southeastern part of Mindanao Island. It is
bounded on the north by CARAGA Region, onthe east and south by the Philippine Sea, on the west by
Bukidnonand SOCCSKSARGEN Region. Terrain is mostly hilly and mountainousin the eastern, western, and
souther part of the region. Flat landscan be found in the southern part of Davao Del Norte, in the northern
and central part of Compostella Valley, and in the centralpart of Davao Del Sur.
There are a lot of ethnic languages in the region. Bisaya, Boholano and Cebuano are the major ones. Native
languages are still used like Higaonon in Misamis Oriental, Maranao in Lanao Del Norte, Subanen in Misamis
Occidental, Binukid in Bukidnon and Kinamiging in Camiguin. English and Tagalog are also understood.
Famous writers are Pepito Deiparine, Aida Farol, and Josephine Dichoso.

REGION 12 Central Mindanao

Central Mindanao is known in history as the site where the Muslim faith was introduced. It is composed of
North Cotobato, South Cotobato, Sultan Kudarat and Sarangani. Central Mindanao comprises the provinces
of Lanao del Norte and North Cotabato, and the three cities of Cotabato City in Maguindanao, and Marawi
City and Iligan City in Lanao del Sur. It has a total land area of 14,571,3 sq.kms. The province of Lanao del Sur
which opted to join the Autonomous Region of Muslim Mindanao (ARMM), is located between Lanao del
Norte and North Cotabato.
Central Mindanao was once part of the Sultanate of Maguindanao. It was inhabited by Manobos. In 1861, the
Sultan of Maguindanao acceded to Spanish rule. In 1901, the American government formed Cotabato as a
province. It covered what are presently known as North and South Cotabato, Maguindanao, Sultan Kudarat
and Sarangani. From the 1930s to the 1960s, Christian settlers from Luzon and Visayas established homes in
Central Mindanao, which was then considered Muslim territory. Around 70% of the total population in Central
Mindanao are migrants Cebuanos, Hiligaynons, Ilocanos and Tagalogs. Native to the region are the Maranaos,
Maguindanaons and other ethnic tribes. Languages spoken are Hiligaynon, Ilocano, Maguindanao, Cebuano
and Chavacano. Dominant religion are Roman Catholic and Islam. Cotabato has a total land area of 656,590
hectares. It is the largest in terms of land area among the provinces of Region 12. Famous writers are Jaime
An Lim, Christine Godinez-Ortega, and Eulogio Dua.

REGION 13 Caraga
Caraga, authoritatively known as the Caraga Administrative Region or just Caraga Region and assigned as
Region XIII, is a managerial area in the Philippines possessing the northeastern segment of the island of
Mindanao.
Caraga is said to have started from the local word Kalag which signifies "spirit of soul". Henceforth, the entire
Provincia de Caraga of AD 1622 was called region de gente animosa, that is "region of spirited men". Another
anecdotal derivation of the name streams from a nearby legend as originating from the word Cagang, a
various little crabs tangling the shoreline of Caraga, which is otherwise called katang to the local tenants.
Legend goes that the town was named in that capacity in light of the fact that the main Spanish evangelists
who came in the early years of 1600 found various little crabs tangling the shoreline.
Provinces of Region 13 include Agusan del Norte, Agusan del Sur, Dinagat Islands, Surigao Del Norte, and
Surigao Del Sur.

NATIONAL CAPITAL REGION (NCR)

National Capital Region is best or commonly known as Metro Manila It is the main financial, commercial and
educational center of the Philippines. It is located in the southwestern portion of Luzon, directly below
Central Luzon. Lying along the flat alluvial and deltaic plains draining the Pasig River and Laguna de Bay, its
territory extends eastward and up the rolling hills of Marikina Valley and stops short at the low lying edges of
Rizal province. It is bounded by the fertile plains of Central Luzon in the North, the sweeping Sierra Madre
Mountains in the East, and Laguna de Bay in the South. Manila Bay, on the other hand, spreads out perfectly
on the West, providing a great canvass for the famed sunsets of Manila.
The National Capital Region is actually divided into four districts. 1st District: City of Manila – Manila itself.
The Capital City of the Philippines 2ND District: Mandaluyong City, Marikina City, Pasig City, Quezon City, and
San Juan City 3rd District: Caloocan City, Malabon City, Navotas City and Valenzuela City 4th District: Las Piñas
City, Makati City, Muntinlupa City, Parañaque City, Pasay City, Municipality of Pateros, and Taguig City.
Filipino, also Pilipino, is the Tagalog language designated as the national language and one of two official
languages of the Philippines. Filipino/Tagalog is the first language of a third of the population of the
Philippines, It is centered around Metro Manila but is known almost universally throughout the country.
Famous authors are Liwayway Arceo, Jesus Balmori, Rosarion Almario, Amado V. Hernandez. Faustino
Aguilar, Iñigo Ed. Regalado, Andres Bonifacio, Severino Reyes, Emilio Jacinto,Jose dela Cruz, and Cecilio
Apostol.

AUTONOMOUS REGION IN MUSLIM MINDANAO (ARMM)

The Autonomous Region in Muslim Mindanao an Autonomous region of the Philippines, situated in the
Mindanao island gathering of the Philippines, that involves five dominatingly Muslim areas: Basilan (aside
from Isabela City), Lanao del Sur, Maguindanao, Sulu and Tawi-Tawi. It is the main area that has its own
particular government. The locale's accepted seat of government is Cotabato City, in spite of the fact that this
self-administering city is outside of its ward. The ARMM traverses two geological territories: Lanao del Sur
and Maguindanao (aside from Cotabato City) in south western Mindanao, and the island areas of Basilan
(with the exception of Isabela City), Sulu and Tawi-Tawi in the Sulu Archipelago. Major languages are
Maranao, Tausug, Yakan, Maguindanao, Tagalog. Famous writers are Lualhati Bautista, Linda Ty Casper, Ingrid
Chua-Go, Gilda Cordero-Fernando, Jessica Hagedorn, Nick Joaquin, Alejandro Roces, Bienvenido Santos,
Gémino H. Abad, and Carmen Acosta.

II. LITERATURE IN FOCUS

A. Short Story (Fiction)
A short story is one kind of fiction that which most readers enjoyed reading because it
is concise and it creates a single effect or dominant impression to the reader (Marcos, et al,
2012). According to Ang (2016), short story is a fictitious narrative that is compressed into
one unit of time, place, and action. It deals with a single character, interest, a single emotion
or series of emotions called forth by a single situation.
Elements of Fiction
1. Setting. The setting is both the time and geographic location within a narrative or within a work of
fiction. A literary element, the setting helps initiate the main backdrop and mood for a story.

2. Character. Character can be defined as any person, animal, or figure represented in a literary work.
The main character is called the protagonist, who is exposed to conflict and is responsible prove
his/her worth and accomplish his/her mission. Another major character is the antagonist to whom
the protagonist struggles against with. There are many other types of characters that exist in
literature, each with its own development and function. These are the round, flat, dynamic, and static
characters.
3. Conflict. Conflict is the primary problem that the characters in a story face. It is the driving force in
any story, as it influences the turn of events in the plot. Without conflict, there is no story arc and no
character development. Conflict can be broken down into four categories: man vs. man, man vs.
nature, man vs. society and man vs. self. The first three types are known as external conflict, and the
last type is internal conflict.
4. Plot. A plot is a causal sequence of events, the "why" for the things that happen in the story. The
plot draws the reader into the character's lives and helps the reader understand the choices that the
characters make. A plot's structure is the way in which the story elements are arranged.

5. Symbol. A symbol is anything that stands for, or represents, something else. In a story, a character,
an action, an object, or an animal can be symbolic. Often these symbols stand for something abstract,
like a force of nature, a condition of the world, or an idea.
6. Point of view. Point of view refers to who is telling or narrating a story. A story can be told in three
different ways. Writers use point of view to express the personal emotions of either themselves or
their characters. The point of view of a story is how the writer wants to convey the experience to the
reader.
7. Theme. The theme in a story is its underlying message, or 'big idea.' In other words, what critical
belief about life is the author trying to convey in the writing of a novel, play, short story or poem?
This belief, or idea, transcends cultural barriers. It is usually universal in nature.
 C. EXPLAIN

Learning Activity 3. Short Story Analysis

How My Brother Leon Brought Home a Wife

By Manuel E. Arguilla

Most of Arguilla's stories depict scenes in Barrio Nagrebcan, Bauang, La

Union where he was born (1910). His bond with his birthplace, forged by his
dealings with the peasant folk of Ilocos, remained strong even after he moved to
Manila where he studied at the University of the Philippines (B.S.E. 1933). He later married Lydia Villanueva
(another talented writer), and they lived in Ermita, Manila. Their house eventually became a meeting place
not only of other writers, but also of those who joined the underground in World War II. In August 1944,
Manuel Arguilla was captured and executed at Fort William McKinley (now known as Fort Bonifacio).

She stepped down from the carretela of Ca Celin with a quick, delicate grace. She was lovely. SHe was tall.
She looked up to my brother with a smile, and her forehead was on a level with his mouth.

"You are Baldo," she said and placed her hand lightly on my shoulder. Her nails were long, but they were not
painted. She was fragrant like a morning when papayas are in bloom. And a small dimple appeared momently
high on her right cheek. "And this is Labang of whom I have heard so much." She held the wrist of one hand
with the other and looked at Labang, and Labang never stopped chewing his cud. He swallowed and brought
up to his mouth more cud and the sound of his insides was like a drum.

I laid a hand on Labang's massive neck and said to her: "You may scratch his forehead now."

She hesitated and I saw that her eyes were on the long, curving horns. But she came and touched Labang's
forehead with her long fingers, and Labang never stopped chewing his cud except that his big eyes half closed.
And by and by she was scratching his forehead very daintily.

My brother Leon put down the two trunks on the grassy side of the road. He paid Ca Celin twice the usual
fare from the station to the edge of Nagrebcan. Then he was standing beside us, and she turned to him
eagerly. I watched Ca Celin, where he stood in front of his horse, and he ran his fingers through its forelock
and could not keep his eyes away from her.
"Maria---" my brother Leon said.

He did not say Maring. He did not say Mayang. I knew then that he had always called her Maria and that to
us all she would be Maria; and in my mind I said 'Maria' and it was a beautiful name.

"Yes, Noel."

Now where did she get that name? I pondered the matter quietly to myself, thinking Father might not like it.
But it was only the name of my brother Leon said backward and it sounded much better that way.

"There is Nagrebcan, Maria," my brother Leon said, gesturing widely toward the west.

She moved close to him and slipped her arm through his. And after a while she said quietly.
"You love Nagrebcan, don't you, Noel?"

Ca Celin drove away hi-yi-ing to his horse loudly. At the bend of the camino real where the big duhat tree
grew, he rattled the handle of his braided rattan whip against the spokes of the wheel.

We stood alone on the roadside.

The sun was in our eyes, for it was dipping into the bright sea. The sky was wide and deep and very blue above
us: but along the saw-tooth rim of the Katayaghan hills to the southwest flamed huge masses of clouds. Before
us the fields swam in a golden haze through which floated big purple and red and yellow bubbles when I
looked at the sinking sun. Labang's white coat, which I had wshed and brushed that morning with coconut
husk, glistened like beaten cotton under the lamplight and his horns appeared tipped with fire.

He faced the sun and from his mouth came a call so loud and vibrant that the earth seemed to tremble
underfoot. And far away in the middle of the field a cow lowed softly in answer.

"Hitch him to the cart, Baldo," my brother Leon said, laughing, and she laughed with him a big uncertainly,
and I saw that he had put his arm around her shoulders.

"Why does he make that sound?" she asked. "I have never heard the like of it."

"There is not another like it," my brother Leon said. "I have yet to hear another bull call like Labang. In all the
world there is no other bull like him."

She was smiling at him, and I stopped in the act of tying the sinta across Labang's neck to the opposite end of
the yoke, because her teeth were very white, her eyes were so full of laughter, and there was the small dimple
high up on her right cheek.

"If you continue to talk about him like that, either I shall fall in love with him or become greatly jealous."

My brother Leon laughed and she laughed and they looked at each other and it seemed to me there was a
world of laughter between them and in them.

I climbed into the cart over the wheel and Labang would have bolted, for he was always like that, but I kept
a firm hold on his rope. He was restless and would not stand still, so that my brother Leon had to say "Labang"
several times. When he was quiet again, my brother Leon lifted the trunks into the cart, placing the smaller
on top.

She looked down once at her high-heeled shoes, then she gave her left hand to my brother Leon, placed a
foot on the hub of the wheel, and in one breath she had swung up into the cart. Oh, the fragrance of her. But
Labang was fairly dancing with impatience and it was all I could do to keep him from running away.

"Give me the rope, Baldo," my brother Leon said. "Maria, sit down on the hay and hold on to anything." Then
he put a foot on the left shaft and that instand labang leaped forward. My brother Leon laughed as he drew
himself up to the top of the side of the cart and made the slack of the rope hiss above the back of labang. The
wind whistled against my cheeks and the rattling of the wheels on the pebbly road echoed in my ears.

She sat up straight on the bottom of the cart, legs bent togther to one side, her skirts spread over them so
that only the toes and heels of her shoes were visible. her eyes were on my brother Leon's back; I saw the
wind on her hair. When Labang slowed down, my brother Leon handed to me the rope. I knelt on the straw
inside the cart and pulled on the rope until Labang was merely shuffling along, then I made him turn around.

"What is it you have forgotten now, Baldo?" my brother Leon said.

I did not say anything but tickled with my fingers the rump of Labang; and away we went---back to where I
had unhitched and waited for them. The sun had sunk and down from the wooded sides of the Katayaghan
hills shadows were stealing into the fields. High up overhead the sky burned with many slow fires.

When I sent Labang down the deep cut that would take us to the dry bed of the Waig which could be used as
a path to our place during the dry season, my brother Leon laid a hand on my shoulder and said sternly:

"Who told you to drive through the fields tonight?"

His hand was heavy on my shoulder, but I did not look at him or utter a word until we were on the rocky
bottom of the Waig.

"Baldo, you fool, answer me before I lay the rope of Labang on you. Why do you follow the Wait instead of
the camino real?"

His fingers bit into my shoulder.

"Father, he told me to follow the Waig tonight, Manong."

Swiftly, his hand fell away from my shoulder and he reached for the rope of Labang. Then my brother Leon
laughed, and he sat back, and laughing still, he said:

"And I suppose Father also told you to hitch Labang to the cart and meet us with him instead of with Castano
and the calesa."

Without waiting for me to answer, he turned to her and said, "Maria, why do you think Father should do that,
now?" He laughed and added, "Have you ever seen so many stars before?"

I looked back and they were sitting side by side, leaning against the trunks, hands clasped across knees.
Seemingly, but a man's height above the tops of the steep banks of the Wait, hung the stars. But in the deep
gorge the shadows had fallen heavily, and even the white of Labang's coat was merely a dim, grayish blur.
Crickets chirped from their homes in the cracks in the banks. The thick, unpleasant smell of dangla bushes
and cooling sun-heated earth mingled with the clean, sharp scent of arrais roots exposed to the night air and
of the hay inside the cart.

"Look, Noel, yonder is our star!" Deep surprise and gladness were in her voice. Very low in the west, almost
touching the ragged edge of the bank, was the star, the biggest and brightest in the sky.

"I have been looking at it," my brother Leon said. "Do you remember how I would tell you that when you
want to see stars you must come to Nagrebcan?"

"Yes, Noel," she said. "Look at it," she murmured, half to herself. "It is so many times bigger and brighter than
it was at Ermita beach."

"The air here is clean, free of dust and smoke."

"So it is, Noel," she said, drawing a long breath.

"Making fun of me, Maria?"

She laughed then and they laughed together and she took my brother Leon's hand and put it against her face.

I stopped Labang, climbed down, and lighted the lantern that hung from the cart between the wheels.

"Good boy, Baldo," my brother Leon said as I climbed back into the cart, and my heart sant.

Now the shadows took fright and did not crowd so near. Clumps of andadasi and arrais flashed into view and
quickly disappeared as we passed by. Ahead, the elongated shadow of Labang bobbled up and down and
swayed drunkenly from side to side, for the lantern rocked jerkily with the cart.

"Have we far to go yet, Noel?" she asked.

"Ask Baldo," my brother Leon said, "we have been neglecting him."

"I am asking you, Baldo," she said.

Without looking back, I answered, picking my words slowly:

"Soon we will get out of the Wait and pass into the fields. After the fields is home---Manong."

"So near already."

I did not say anything more because I did not know what to make of the tone of her voice as she said her last
words. All the laughter seemed to have gone out of her. I waited for my brother Leon to say something, but
he was not saying anything. Suddenly he broke out into song and the song was 'Sky Sown with Stars'---the
same that he and Father sang when we cut hay in the fields at night before he went away to study. He must
have taught her the song because she joined him, and her voice flowed into his like a gentle stream meeting
a stronger one. And each time the wheels encountered a big rock, her voice would catch in her throat, but
my brother Leon would sing on, until, laughing softly, she would join him again.

Then we were climbing out into the fields, and through the spokes of the wheels the light of the lantern
mocked the shadows. Labang quickened his steps. The jolting became more frequent and painful as we
crossed the low dikes.

"But it is so very wide here," she said. The light of the stars broke and scattered the darkness so that one
could see far on every side, though indistinctly.

"You miss the houses, and the cars, and the people and the noise, don't you?" My brother Leon stopped
singing.

"Yes, but in a different way. I am glad they are not here."

With difficulty I turned Labang to the left, for he wanted to go straight on. He was breathing hard, but I knew
he was more thirsty than tired. In a little while we drope up the grassy side onto the camino real.
"---you see," my brother Leon was explaining, "the camino real curves around the foot of the Katayaghan hills
and passes by our house. We drove through the fields because---but I'll be asking Father as soon as we get
home."

"Noel," she said.

"Yes, Maria."

"I am afraid. He may not like me."

"Does that worry you still, Maria?" my brother Leon said. "From the way you talk, he might be an ogre, for all
the world. Except when his leg that was wounded in the Revolution is troubling him, Father is the mildest-
tempered, gentlest man I know."

We came to the house of Lacay Julian and I spoke to Labang loudly, but Moning did not come to the window,
so I surmised she must be eating with the rest of her family. And I thought of the food being made ready at
home and my mouth watered. We met the twins, Urong and Celin, and I said "Hoy!" calling them by name.
And they shouted back and asked if my brother Leon and his wife were with me. And my brother Leon shouted
to them and then told me to make Labang run; their answers were lost in the noise of the wheels.

I stopped labang on the road before our house and would have gotten down but my brother Leon took the
rope and told me to stay in the cart. He turned Labang into the open gate and we dashed into our yard. I
thought we would crash into the camachile tree, but my brother Leon reined in Labang in time. There was
light downstairs in the kitchen, and Mother stood in the doorway, and I could see her smiling shyly. My
brother Leon was helping Maria over the wheel. The first words that fell from his lips after he had kissed
Mother's hand were:

"Father... where is he?"

"He is in his room upstairs," Mother said, her face becoming serious. "His leg is bothering him again."

I did not hear anything more because I had to go back to the cart to unhitch Labang. But I hardly tied him
under the barn when I heard Father calling me. I met my brother Leon going to bring up the trunks. As I passed
through the kitchen, there were Mother and my sister Aurelia and Maria and it seemed to me they were
crying, all of them.

There was no light in Father's room. There was no movement. He sat in the big armchair by the western
window, and a star shone directly through it. He was smoking, but he removed the roll of tobacco from his
mouth when he saw me. He laid it carefully on the windowsill before speaking.

"Did you meet anybody on the way?" he asked.

"No, Father," I said. "Nobody passes through the Waig at night."

He reached for his roll of tobacco and hitched himself up in the chair.

"She is very beautiful, Father."

"Was she afraid of Labang?" My father had not raised his voice, but the room seemed to resound with it. And
again I saw her eyes on the long curving horns and the arm of my brother Leon around her shoulders.
"No, Father, she was not afraid."

"On the way---"

"She looked at the stars, Father. And Manong Leon sang."

"What did he sing?"

"---Sky Sown with Stars... She sang with him."

He was silent again. I could hear the low voices of Mother and my sister Aurelia downstairs. There was also
the voice of my brother Leon, and I thought that Father's voice must have been like it when Father was young.
He had laid the roll of tobacco on the windowsill once more. I watched the smoke waver faintly upward from
the lighted end and vanish slowly into the night outside.

The door opened and my brother Leon and Maria came in.

"Have you watered Labang?" Father spoke to me.

I told him that Labang was resting yet under the barn.

"It is time you watered him, my son," my father said.

I looked at Maria and she was lovely. She was tall. Beside my brother Leon, she was tall and very still. Then I
went out, and in the darkened hall the fragrance of her was like a morning when papayas are in bloom.
Comprehension Check. Answer the following question:

1. Who are the characters in the story? Describe their role and their distinct characteristics.

2. When and where did the story take place?

3. Why did Leon bring Maria to his hometown?

4. Why did Maria feel nervous when they were approaching Leon’s house?

5. What did Leon do to comfort Maria?

6. Why did Leon’s brother secretly observe Maria?

7. What kind of society is presented in the story? Why?

8. From what point of view the story is being told?

9. What is the theme of the story?

10. What is the lesson that you can get from the story?
B. Poetry
Poetry has always been one of the best means of expressing thoughts and feelings. The
sweetness, melody and smoothness that we feel while going through poetry, cannot be
found in any other form of literature. It exhibits a special kind of empathy that directly
touches the heart and soul of people, mainly those who can understand the deep thought
veiled behind simple lines. A good poem always comprises of certain basic elements, which
help it in achieving higher degrees of perfection in expression. In case you are interested in
reading or writing poetry, familiarity with these basic elements will help you develop a better
understanding of this melodious form of literature.
It is written with rhythm and is organized in lines and groups lines called stanzas. It is
highly imaginative and written in condensed language, stylized syntax, and figures of speech
not found in ordinary communication.

Elements of Poetry
1. Theme. It can be described as the soul of a poem. It is what the poet wants to express
through his words. It may either be a thought, a feeling, an observation, a story or an
experience.
2. Symbolism. The expression in poetry is often not direct. Rather, it makes use of several
symbolic and virtual substances and themes to express the deep hidden meaning behind
the words. The use of symbolism gives a more reflective empathy to the poem. It is one
of those basic elements of a poem that are conceived at the very beginning of the
composition.
3. Meter. It is the basic structure of a poem. It is conceived right after the theme and
symbolism of poem have been finalized. This is point where a poem takes an entirely
different structure from that of prose. Every line in a poem has to adhere to this basic
structure. The entire poem is divided into sub-units and it is made sure that a single unit
conveys a single strand of thought successfully.
4. Rhythm. For a smooth flow of expression, a musical symphony in the poem is compulsory.
A dry and broken piece of literature can never ever be good poetry, despite having a good
theme. However, it is not the rhyming between two words of consecutive lines, rather
the resonation of words along with the sounds and the music produced, when the poem
is read aloud. This musical link must not be missing in a poem.
5. Rhyme. A rhyme may or may not be present in a poem. Free verse variety of poetry does
not follow this system. However, where present, the pattern is present in different forms,
like aa, bb, cc (first line rhymes with the second, the third with fourth, and so on) and ab,
ab (first line rhymes with third and the second with fourth). Rhyme has a very significant
role in providing rhythm and flow to poem, which further helps in maintaining the
reader's interest. One effect of rhyming is to add emphasis to particular words, especially
the last in any pair or longer string of rhyming words
6. Voice. As a literary term, tone refers to the writer's attitude towards the subject of a
literary work as indicated in the work itself. One way to think about tone in poetry is to
consider the speaker's literal "tone of voice": just as with tone of voice, a poem's tone
may indicate an attitude of joy, sadness, solemnity, silliness, frustration, anger,
puzzlement, etc. One may know that the speaking voice is actually the poet's, but in the
 great majority of poems it cannot assumed that speaker and poet are the same individual,
and quite often the speaker is clearly not the poet himself or herself.
7. Imagery. As applied to poetry, imagery is the use of words to convey vivid, concrete
sensory experiences. The word "image" suggests most obviously a visual image, a picture,
but imagery also includes vivid sensory experiences of smell, sound, touch, and taste as
well. Imagery goes beyond mere description to communicate an experience or feeling so
vividly that it encourages the creation of images in the mind of the reader and reader’s
experiences for themselves the specific sensations that the poet intends.

Learning Activity 4. Poetry Analysis

Instructions. Read carefully the poem below. Then, answer the questions that follow.

Paksiw na Ayungin
by Jose F. Lacaba

Jose Maria Flores Lacaba Jr., popularly known by his nickname Pete, was born on 25 November 1945
in Cagayan de Oro City but grew up in Pateros, Rizal. After finishing his primary education at the
Ateneo de Cagayan, he went to the Pasig Catholic College to complete his elementary and high school
education. In 1964, on his third year at the Ateneo de Manila University taking up AB English, Pete
dropped out of school. He joined the Philippines Free Press in 1965, initially working as a copyeditor
and proofreader and later as a staff writer and editor of the magazine’s Pilipino edition. He also
organized its labor union. He was a multi-awarded journalist, poet, author and screenwriter, a
lecturer at the University of the Philippines and the Ateneo de Manila University, a lyricist and has
done translations into Filipino of songs and dialogues of characters in foreign films. Among the
numerous awards and honors he has received are the CCP Centennial Honors for the Arts and the
Aruna Vasudev Lifetime Achievement Award for Writing on and for Cinema. He was a member of
“Panulat para sa Kaunlaran ng Sambayanan” (PAKSA). PAKSA, composed mainly of writers and
poets, was among the organizations that clamored for social change in the early 1970s. PAKSA and
the various organizations that comprised a broad front in the pre-martial law days, were
revolutionary. He was a political prisoner from 1974 to 1976.
 Paksiw na Ayungin ni Jose F. Lacaba

Ganito ang pagkain Saka mo

ng paksiw na ayungin: umpisahan ang laman.
bunutin ang palikpik
(para sa pusa iyan Unti-unti lang, dahan-
at ang matirang tinik), dahan, at simutin nang
at ilapat sa labi husto--kakaunti iyang
ang ulo, at sipsipin ulam natin, mahirap
ang mga matang dilat; humagilap ng ulam.
pagkatapos ay mismong Damihan mo ang kanin,
ang ulo ang sipsipin paglawain sa sabaw.
hanggang sa maubos ang At huwag kang maangal.
katas nito. Payat man ang ayungin,
pabigat din sa tiyan.

Comprehension Check. Answer the following question:

1. What is the theme of the poem?
2. What is ayungin fish? What does it symbolize?
3. What is the symbolism of the cat (pusa)?
4. Why did the writer choose fish ayungin rather than other fish?
5. Why did the writer present the steps in eating ayunging fish?
6. What is meant by the line “At huwag kang maangal. Payat man ang ayungin, pabigat din sa
tiyan.” ?
7. What is the rhyming pattern and structure (meter)of the poem?
8. What is the message of the poem?
 D.ELABORATE

Group work: SHORT STORY ANALYSIS

Instructions: Read and analyze the story from a specific region assigned to you. Summarize the story based
on the elements of the fiction discussed previously. Present the summary to the class through a powerpoint
presentation for group reporting. Be able to include the following:
NAME/S
REGION:
TITLE:
BIOGRAPHY OF THE WRITER(Summary)
I. SETTING:
II. CHARACTERS:
III. CONFLICT:
IV.PLOT
A. BACKGROUND/BEGINNING:
B. RISING ACTION:
C. CLIMAX:
D. FALLING ACTION:
E. RESOLUTION:
V. SYMBOLISM
VI. POINT OF VIEW
VII.THEME
VIII. MORAL OF THE STORY

Region
1 MORNING IN NAGREBCAN-Manuel Arguilla
2 AT WAR’S END by Rony V. Diaz
3 FAITH, LOVE, TIME, AND DR, LAZARU-Gregorio Brillantes
4 DEAD STARS-Paz Marquez Benitez
5 SCENT OF APPLES -Bienvinido M. Santos
6 HINILAWOD-(Panay Epic)
7 SERVANT GIRL- Estrella Alfon
8 BOWAON AND TOTOON-(Waray)
9 THE WHITE HORSE OF ALIH-E. A. Enriquez
10 SMALL PEOPLE: A DAY IN THE LIVES OF COAL MINERS!- Regino L Gonzales, Jr.
11 LOVE IN THE CORNHUSKS- Aida L. Revira Ford
12 INDAPATRA AND SULAYMAN-(No author)
13 A Manobo Epic: Tuwaang Attends a Wedding- Arsenio Manuel
NCR FOOTNOTE TO THE YOUTH- Jose Garcia Villa
CAR WEDDING DANCE-Amador T Dagiuo
ARMM THE VIRGIN= Kerima Polotan Tuvera
Scoring Rubric for Oral Presentations/Group Reporting
PRESENCE
-body language & eye contact 5 4 3 2 1 0
-poise &physical organization 5 4 3 2 1 0
LANGUAGE SKILLS
-correct usage & appropriate vocabulary and grammar 5 4 3 2 1 0
-spoken loud enough to hear easily 5 4 3 2 1 0
ORGANIZATION
-clear objectives 5 4 3 2 1 0
-logical structure & signposting 5 4 3 2 1 0
MASTERY OF THE SUBJECT
-depth of commentary 5 4 3 2 1 0
-spoken, not read 5 4 3 2 1 0
-able to answer questions 5 4 3 2 1 0
VISUAL AIDS
-transparencies, slides, audio, video, etc. 5 4 3 2 1 0
OVERALL IMPRESSION
-very interesting / very boring 5 4 3 2 1 0
-very good / poor communication 5 4 3 2 1 0

TOTAL SCORE _______ /60

E.EVALUATE
Individual Work: Poetry Writing

Instructions: Compose your own poem applying the concept learned on poetry writing. You may
choose your own theme. It should be composed of 5 stanzas with 4 lines each. Observe proper
meter and rhyme. Be able to draw the image suggested in your composition as background. Use
1/8 illustration board.

Rubric for Poetry Writing

Message
Message is compelling, engaging, and very clear. 5 4 3 2 1 0
Grammar and Mechanics
Free of spelling and punctuation errors. 5 4 3 2 1 0
Grammar usage is controlled and error free. 5 4 3 2 1 0
Form
The structure is intentional and elements flow 5 4 3 2 1 0
seamlessly together to enhance meaning of
message. Poem is complete.
Technique
Effectively uses vivid vocabulary, unique details, 5 4 3 2 1 0
figurative language, and sensory details to create
tone and meaning.
Evokes a strong response from the reader. 5 4 3 2 1 0
Originality
Writer's distinct voice and unique perspective is very evident; 5 4 3 2 1 0
a highly creative and innovative
approach grabs reader.
Neatness and Style
The final draft of the poem is readable, clean, neat and attractive. 5 4 3 2 1 0
It is free of erasures and crossed-out words
Illustration
The illustration/art work is exceptionally attractive 5 4 3 2 1 0
in terms of design, layout, and neatness.
Overall Presentation
Effective and creative use of an illustration enhances 5 4 3 2 1 0
the poem’s meaning.

TOTAL SCORE _______/50