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Itroduction to philippine poetry
- 1. RULES 1. By group( according to your line). 2. Each group is given 10 seconds to answer the wordles. 3. After 10 seconds all pens must be up. 4. Seat back and feel relax and enjoy the game
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- 7. FOUR MAJOR LITERARY PERIODS Pre-colonial or Pre-Hispanic (before 1521) Spanish Colonial (1521-1898) US Colonial ( 1898- 1946) Contemporary (1946- present)
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- 10. Popular folk musicalverse was divided into several categories: 1. the diona, talindao, and auit or awit (songs sung at home) 2. indolanin and dolayanin (street songs); 3. hila, soliranin, and manigpasin (rowing songs); 4. holohorlo and oyayi (cradle songs); 5. ombayi (songs of sadness); 6. omiguing (songs of tenderness); 7. tagumpay (triumphant songs)
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- 12. Satanas (Satan) firstappeared in Tagalog poetry, and the Christian themes of sin, guilt, and retribution became central concerns of the native population. In 1610, Tomas Pinpin, a Filipino poet working for the Dominican printing press in Bataan (a town outside Manila), wrote a book entitled Librong Pagaaralan nang manga Tagalog nang Uicang Castila (A Book in Which Tagalogs May Study the Spanish Language).
- 13. C METRICAL ROMANCES CALLED AWITOR KORIDO WERE ALSO POPULAR WITH THE LITERARY CROWDS.
- 14. •The first Filipinofemale poet to attain outside recognition. •Her poems were exhibited in the Exposition Filipina in 1887 in Madrid and in the 1889 Exposition Internationale in Paris. Leona Florentino
- 15. C Written by FranciscoBaltazar also known as balagtas (1788–1862). The most influential Tagalog romance of the period was the politically cryptic
- 16. The first bookof poetry written in Spanish by a Filipino named Pedro Paterno (1858–1911), which was printed in Spain. Paterno, Marcelo H. Del Pilar (1850– 1896), Jose Rizal (1861–1896), and Isabelo De Los Reyes (1864–1918) were literary and political figures called Ilustrados (enlightened ones) who were living in Madrid and working to attain political freedom for the natives back in the Philippines
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- 20. C POETRY IN THE U.S.COLONIAL PERIOD
- 21. Another early immigrantFilipino poet was Carlos Bulosan (1911– 1956), who published political poems in American magazines like The New Yorker, Poetry (edited by Harriet Monroe) and Saturday Evening Post. In Manila in 1940, the Commonwealth Literary Prize in English poetry was given to Rafael Zulueta Da Costa (1915– 1990) for Like the Molave and Other Poems. Native themes were well represented by such local poets as Fernando Ma Guerrero (1873– 1929), Lope K. Santos (1879–1965), Jose Corazon De Jesus (1896–1932), Amado V. Hernandez (1903–1970), Alejandro G. Abadilla (1904–1969), Angela Manalang Gloria (1907–1999), and Trinidad Tarrosa Subido (1912– 1993).
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- 23. The declaration offormal independence from the United States on 4 July 1946 brought a sense of a new beginning to the people and poets of the Philippines. A generation of poets who studied at the famed Iowa Writer's Workshop at the University of Iowa in the 1950s— Bienvenido N. Santos (1911–1996), Ricaredo Demetillo (1920–1998), Dominador I. Ilio (b. 1913), and Edith Tiempo (b. 1919)—came back to the Philippines with the literary ideals of the American New Criticism. The 1970s and 1980s proved to be a politically aware era for Filipino poets, who were writing under the censorship of the dictatorial regime of Ferdinand Marcos (1965–1986).
- 24. As a reactionto the 1983 assassination of Benigno Aquino, Jr., a leading anti-Marcos politician, several poets formed a literary organization called PLAC (Philippine Literary Arts Council) to protest the abuses of the government. One of its leading founders was Alfred A. Yuson (b. 1945), whose neorealist books of poems are Dream of Knives (1986) and Trading in Mermaids (1993). Current trends in Filipino poetry are best exemplified by the pyrotechnic imagination of Eileen R. Tabios (b. 1960), whose book of poetry Beyond Life Sentences (1998) won the National Book Award given by the Manila Book Critics Circle. Her poems incorporate the American precision of Marianne Moore, the experimental joie de vivre of Paul Valery, and the imagistic intensity of Pablo Neruda.