PHILIPPINE POETRY

Centuries before the Spaniards came, the Filipinos already had their own culturaltraditions, folklore,
mythologies and epics. There were substantial writings by earlynatives that Jesuit historian Fr. Pedro
Chirino noted:

"All of the islanders are much givento reading and writing. And there is hardly a man, much less a
woman who did not read and write."

(Relacion de las isles Filipinas-1604)Stories of epics, done in poetry displayed tremendous vitality, color
andimagination. Tales of love and adventures about native heroes, endowed with powersfrom the gods,
battle monsters, and triumphs over formidable armies, rode the wind,traveled in flying shields and
protect the earliest communities of the islands.Established epic poems of notable quality and length
blossomed. And earlyhistorians like Padre Colin, Joaquin Martinez de Zuniga and Antonio Pigafetta have
allattested to the existence of these epics. There were even reports of a dramatic playgiven by natives at
the arrival of Don Miguel Lopez de Legaspi in 1565.Epic poems and songs about the exploits of
enchanted folk heroes wereperformed during festivities and proper occasions. Most often, these epic
poems (folkepics or ethno-epics) were titled after the names of the hero involved, except for somewhich
carry traditional titles like the Kalinga Ullalim; the Sulod Hinilawod; the MaranaoDarangan; or the Bicol
Ibalon.Stories about folk heroes of long ago were described as

"Old Time History"

because; they can be used to study the lifestyle and beliefs of the people who producedthem. They
were also referred to as

"Lost"

, because they were soon forgotten bynatives influenced heavily by Spanish and "western" colonization.
The famed orientalist,Chauncey Starkweather , stressed that :

"These epic romances are charming poem inthe Malayan literature."

But there are those who perpetuated myths that in the early days of Spanishintrusion, priests in their
zealous rage against paganism destroyed all existing records,as well as all forms of writing and art works,
regarding ancient Philippine folk heroes.But this is not true. The colorful and fascinating literature of
pre-Hispanic Filipinos arestill here. Giving the new generation an over view of a heritage that is an
unusual andinvaluable source of joy and information. Regarding the life style, love and aspirations
of early Filipinos. It is from these, wonderful epics, where a Filipino can find his or her national
identity.The history of Philippine poetry can be described in four major literary periods:precolonial
(before 1521), Spanish colonial (15211898), U.S. colonial (18981946),and contemporary
(1946present). A strong indigenous oral tradition is interwoven withthe Spanish and U.S. colonial
influences of culture and language. Poetry has beenwritten in Tagalog (the national language) and in the
eighty-seven regional dialects, as well as in the Castilian Spanish of Miguel de Cervantes and Lope de
Vega and the American English of Walt Whitman and Mark Twain.
Precolonial Poetry

An indigenous oral tradition of bugtong (riddles) andsawikain(proverbs) played acentral part of

community life in villages of precolonial Philippines. Short four-line poems called tanaga evolved from
this oral tradition. Each line contained seven or eightsyllables, and at the heart of the poem was a
cryptic metaphor called a talinghaga.

Popular folk musical verse was divided into several categories: the

diona, talindao,andauit (songs sung at home);Indolanin and dolayanin(street songs); hila, soliranin,and
manigpasin(rowing songs);Holohorlo and oyayi (cradle songs); ombayi (songs sadness);omiguing (songs
of tenderness);tagumpay (triumphant songs);dopayanin(boat songs);hiliriao(drinking songs); and

diona

(wedding songs). Through theseverses the local history, politics, and culture were passed from
generation to generation.The most skilled poets would memorize epic cycles that took two to four days
to reciteduring all-night dramatic performances. Two examples of precolonial epics that survivetoday
are Biag ni Lam-ang (Legend of Lamang) in Ilocano (a northern Luzon dialect)and Ibalon in Bicol (a
southern Luzon dialect).

Poetry in the Spanish Colonial Period

With the arrival of the Spanish colonizers Ferdinand Magellan (1521) and Miguel Lopezde Legazpi (1571)
came priests and their tradition of European Catholicism.

Satanas (Satan) first appeared in Tagalog poetry, and the Christian themes of sin, guilt, andretribution
became central concerns of the native population. In 1610, Tomas Pinpin, aFilipino 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). In this book Pinpin insertedsix

auit

that had alternating Spanish and Tagalog lines. This type of bilingual poetry waswritten by a group called
the Ladino Poets.Metrical romances called

awit or korido

were also popular with the literary crowds. Themost influential Tagalog romance of the period was the
politically cryptic

Florante at Laura

(Florante and Laura; 1838), written by Francisco Baltazar, also known asBalagtas (17881862). The first
book of poetry written in Spanish by a Filipino was

Sampaguitas y Poesias Varias

(Sampaguitas and Other Poems; 1880) by PedroPaterno (18581911), which was printed in Spain.
Paterno, Marcelo H. Del Pilar (18501896), Jose Rizal (18611896), and Isabelo De Los Reyes
(18641918) were literaryand political figures called

Ilustrados

(enlightened ones) who were living in Madrid andworking to attain political freedom for the natives
back in the Philippines. The firstFilipino female poet to attain outside recognition was Leona Florentino
(18491884),whose poems were exhibited in the Exposition Filipina in 1887 in Madrid and in the1889
Exposition Internationale in Paris

Poetry in the U.S. Colonial Period

In 1898, the U.S. president William McKinley (18431901) announced that it was theUnited States'
moral duty to take possession of the Philippine Islands because theFilipinos had to be civilized,
educated, and Christianized. After U.S. soldiers "pacified"the native population during the Philippine-
American War (18991902), thousands of U.S. teachers were sent throughout the archipelago to teach
the Filipinos the Englishlanguage. In just a few years, English became the privileged form of expression
for poets, prose writers, and dramatists.The earliest Filipino poems written in English were published in
1905 in Berkeley,California, in

The Filipino Students' Magazine,

which was edited by pensionados

(Philippine-American government scholars). The first book of poetry written in English,

Azucena

(1925) by Marcelo De Gracia Concepcion (18951954), was published in theUnited States by G. P.

Putnam's Sons. The most influential Filipino poet, Jose GarciaVilla (19081997), lived most of his adult
life in New York City. His books are

HaveCome, Am Here

(Viking Press, 1942),

Volume Two

(New Directions, 1949), and

Selected

Poems and New

(McDowell, Obolensky, 1958). Another early immigrantFilipino poet was Carlos Bulosan (19111956),
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 Englishpoetry was given to Rafael Zulueta Da
Costa (19151990) for

Like the Molave and Other Poems.

Native themes were well represented by such local poets as FernandoMa Guerrero (18731929), Lope K.
Santos (18791965), Jose Corazon De Jesus(18961932), Amado V. Hernandez (19031970), Alejandro
G. Abadilla (19041969), Angela Manalang Gloria (19071999), and Trinidad Tarrosa Subido
(19121993).

Contemporary Poetry

The declaration of formal independence from the United States on 4 July 1946 broughta 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 the1950sBienvenido N. Santos (19111996),
Ricaredo Demetillo (19201998),Dominador I. Ilio (b. 1913), and Edith Tiempo (b. 1919)came back to
the Philippineswith the literary ideals of the American New Criticism. The 1970s and 1980s proved tobe
a politically aware era for Filipino poets, who were writing under the censorship of the dictatorial regime
of Ferdinand Marcos (19651986). As a reaction to the 1983assassination of Benigno Aquino, Jr., a
leading anti-Marcos politician, several poetsformed a literary organization called PLAC (Philippine
Literary Arts Council) to protestthe 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 inMermaids

(1993). Current trends in Filipino poetry are best exemplified by thepyrotechnic 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 CriticsCircle. Her poems incorporate the
American precision of Marianne Moore, theexperimental joie de vivre of Paul Valery, and the imagistic
intensity of Pablo Neruda.

Samples of Philippine epic poetryIgorot epic poetry

Dont trust in hudhud, after a long journey without feeling tired. Aliguyon hadnever been beaten in any
fight or battle. He could catch and face any weapon from theair, and he could defeat his avenging
foes.This poetry its always true. In the beginning, Aliguyon only wanted to kill theenemies of his father.
But after learning that his father didn't have enemies, Aliguyonwas advised by his father to just use his
strength and power to win a female rightful tobecome his wife and companion in life.One extraordinary
event in Aliguyon's life was his duel against Pumbakhayon, awarrior who had the same fighting strength
and skills as Aliguyon. Pumbakhayon wasfrom a nearby tribe called Daligdigan. Aliguyon and
Pumbakhayon had a duel thatlasted a year and a half. After a brief intermission, the two resumed their
fight whichlasted for another year and a half. Eventually, both men realized that they will not beable to
beat each other. Therefore, they made a simple arrangement. Aliguyon agreed to marry Bugan, a sister
of Pumbakhayon. While Pumbakhayonmarried Aginaya, a sister of Aliguyon. The arrangement unified
the tribes of Gohandanand Daligdigan. Here ended the story of the Hud-Hud epic.

Bicol epic poetry

From the Bicol province comes the Ibalon. The Ibalon relates the mystical originsof the first man and the
first woman of Aslon and Ibalon, which are current provinces of Camarines, Albay, Sorsogon,
Catanduanes and Masbate. Hiandong, one of the heroesof Ibalon (The others are Baltog and Bantong)
was a great leader of warriors. He foughtagainst a giant Cyclops for ten months, defeated the winged
Tiburon and the fierceSarimao and won over the seductive serpent Oriol before starting a village.His
Village prospered and soon, others invented the plough, harrow and other farming implements. Events
in this epic also had a flood story similar to that of theBiblical Genesis.LIFE OF LAM-ANGBy:Pedro
BucanegBarely 9 months old, Lam-Ang fought against the headhunters who killed his father. Hewas also
eaten by a sea monster, but was reborn from his retrieved bones. He also journeyed to get the beautiful
Ines Kannoyan accompanied by his pets; a rooster and adog. (This reminds us of an old Japanese tale
titled Momotaro the Peach boy.) Ines

Kannoyan's place was filled with suitors, Lam-Ang's rooster flap its wings and the longhouse toppled.
This amazed everybody, especially Ines. Then, Lam-Ang's dog barksand the long house rose to its
former. Lam-Ang gave Ines two golden ships filled withtreasures, and then he married her from noah.

Mindanao epic poetry

The people of Mindanao had rich literatures that exist only in their minds andmemories. Only recently
that these epic poetries were put in writing, so these can bestudied by the public. Locally called
"Darangan", these epic poetries were similar tothose of that Homer's Iliad and Odyssey.The Darangan
tells of the sentimental and romantic adventures of noble warriors,one of them, is about a warrior-
prince called Bantugan.. Prince Bantugan was thebrother of the chieftain of a village called Bumbaran.
Bantugan owned a magic shield,was protected by divine spirits called "Tonongs" and was capable of
rising from thedead. Once his enemies attacked Bembaran, thinking he was dead. In the nick of
time,Bantugan's soul was recovered and he saved the village.There is also an episode, where Prince
Bantugan was on a quest and fought hisenemies with his magic Kampilan (Native sword). Soon, he got
tired and fell on to thewater. A crocodile delivered him to his enemies, but he regained his strength,
escapedhis captors, and commands an oar less ship and won the battle.There were also "Darangan epic
poetries that relates stories of wars aboutabducted princesses. Just like the chronicles of the Trojan
War.The Darangan is one of the oldest and longest Philippine Epic poetries. Severalnights were needed
to recite the twenty five beautiful chapters. The Darangan, sung inits original, possessed a sustained
beauty and dignity, it might be studied for its estheticvalues alone.

Visayan epic poetry

The Maragtas Chronicles of Panay is a history of rulers of the island from thetime of the Ten Malay
Datus (rulers) that settled from Borneo. The "Legend of the TenDatus (chieftains)" narrates about the
forefathers of the Filipinos and the story of tenBornean chieftains who escaped the cruel regime of
Sultan Makatunaw. Datu Puti alongwith other nine chieftains plans to leave Borneo. Riding their native
boats, they venturedinto the night and across the wide ocean. At first, the ten rulers and their families
wereafraid that they might perish in the middle of the sea. Soon, they have reached theislands of Panay
and befriended with the natives called Aetas. The Aetas are quitefriendly and decides to sell a piece of
their land to the ten chieftains. The chieftains gavethe Aetas leader, Marikudo a golden Salakot (Native
head piece) After this; thechieftains and Aetas lived in peace and harmony. The Haraya is another epic
poem

from Panay. It is a collection of rules of conduct told in the form of heroic tales. The"Hari sa Bukid" of
Negros is a mythical epic of Kanlaon (Kan comes from a Persianword "Khan" meaning "King" and "Laon"
from a Malay word meaning "Ancient.") and"Hinilawod" an epic poem made by the early inhabitants of
Iloilo, Aklan and Antique alsofrom Panay. The hero of Hinilawod, "Humadapnon" was of divine ancestry.
He hadsuper natural powers and guardian spirits to protect him. His most exciting adventurewas his
search for Malitong Yawa Sinamagling Diwata: A beautiful maiden whom hesaw in his dream. He
boarded his golden boat, sailed amidst dangerous seas, and wascaptured by an
enchantress/engkantada. Finally, he found and won the love of MalitongYawa Sinamagling Diwata.

Other epics

Dr. Jose Pangaea, in his book on Philippine literature mentioned that "Old Folks"in the Batangas area
which anciently covered part of the Rizal province up to Morons,all of Laguna, Cavite, Quezon,
Marinduque and the Mindoro Province, mentioned anepic that their elders used to chant but cant
remember. These are not definite stories.Only war songs and war dances accompanied with music on
the "kalatong". The"kalatong", it should be noted, is a native "Tom-Tom" consists of a bamboo reed
with"strings" raised up from its own fibers. Josue Soncuya mentions the epic that Dr. JosePanganiban
calls "Kumintang", in Chapter XIX of the Boletin dela Sociedad Historico-Geografica de Filipinas. There
was a tale around the 14th Century: King Soledan senthis sons Bagtas, Manduquit and Likyaw of the
house of Madjapahit to Mai and Lusongwhich were then, part of the kingdom of Lontok. The conquest
of the northern territoriesthrough singing and dancing of warriors form the integral part of the
"Kumintang." Other epic poems being written and chanted are: The Sud-ansud of the Tagbanuas
fromPalawan The Dagoy, also from Palawan The Parang Sabil of the Sulo Muslims TheUlagingen and
Selch of the Manobos The Panglima Munggona and Jikiri of the TausogThe kalinga Banna Bidian of the
Ibaloys The Sulod Labaw Donggon and, Bagyu of Bukidnon. Eulogio B. Rodriguez, former director of the
Philippine National Library saidthat "Anonymous vernacular writers of past ages had no thought of
bringing glory totheir own, but labored with the central idea of transmitting to prosperity in a
concreteand permanent form, the great mass of Philippine legends which was only preserved byword of
mouthWith their work as corner stone, later writers have been graduallyadding block by block to the
literary edifice to approximate something similar to anational literature of our own." When the late
American Nobel Prize winner WilliamFaulkner visited the Philippines, he was impressed by our epic
poems. He stated that: "The Filipinos have their own traditions of poetry in their folklore, in their
language anddialects. This must be recorded and that's the job of the writers. In doing that, he gives
apattern of hope and aspirations for the people to advance not merely as a nation of people but as a
member of a family of nations, the human family.