LIT 1/GEC 322: Philippine Literature/Panitikan
WEEK 4
Learning Outcomes/Objectives:
a. Know the historical background of the Spanish Period.
b. Be aware of the Influences of Spanish literature to Philippine literature
c. Master the first books.
d. Demonstrate the literary compositions in this period.
Discussion:
CHAPTER 3: THE SPANISH PERIOD (1565-1898)
Historical Background
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 mad 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.
A. 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.
1. The first Filipino alphabet called ALIBATA was replaced by the Roman alphabet.
2. The teaching of the Christian Doctrine became the basis of religious practices.
3. The Spanish language which became the literary language during this time lent many of its words to our
language.
4. European legends and traditions brought here became assimilated in our songs, corridos, and moro-
moros.
5. Ancient literature was collected and translated to Tagalog and other dialects.
6. Many grammar books were printed in Filipino, like Tagalog, Ilocano and Visayan
7. Our periodicals during these times gained a religious tone.
LIT 1/GEC 322: Philippine Literature/Panitikan
B. 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.
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.
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 Bat. 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, the so 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). A 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.
C. LITERARY COMPOSITIONS
1. Arte y Reglas de la Lengua Tagala (Art and rules of the Tagalog language). Written by Fr. Blancas
de San Jose and translated to Tagalog by Tomas Pinpin in 1610.
2. Compendio de la Lengua Tagala (Understanding the Tagalog language). Written by Fr. Gaspar de
San Agustin in 1703.
3. Vocabulario de la Lengua Tagala (Tagalog vocabulary). The first Tagalog dictionary written by Fr.
Pedro de San Buenaventura in 1613.
4. Vocabulario de la Lengua Pampanga (Pampanga vocabulary). The first book in Pampanga written
by Fr. Diego in 1732.
LIT 1/GEC 322: Philippine Literature/Panitikan
5. Vocabulario de la Lengua Bisaya (Bisayan vocabulary). The best language book in Visayan by
Mateo Sanchez in 1711.
6. Arte de la Lengua Ilokana (The Art of the Ilocano language). The first Ilocano grammar book by
Francisco Lopez.
7. 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.
D. 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 Pung Singsing.
E. RECEREATIONAL 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 Maytime 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 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 religious play
interspersed with songs. These are called by various names in different places: Carillo in Manila, Rizal
LIT 1/GEC 322: Philippine Literature/Panitikan
and Batangas and Laguan; 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 18th century. 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.
F. 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 rescu e 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.
G. 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 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.
H. DUPLO
The Duplo replace 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. I. 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.
I. 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.
J. THE AWIT and the CORRIDO
Some use these two interchangeably because distinction is not clear.
