Self-instructed

Module in
21 Century
st

Literature from
the Philippines
and the World

First Quarter: Geographic, Linguistic and Ethnic

Dimensions of Philippine Literary History from Pre-
Colonial to the Contemporary

Name: ___________________________________
Address: __________________________________________
Contact No.: _________________________

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Introduction
This module was collaboratively designed, developed, and
reviewed by educators both from public and private
institutions to assist you, the teacher, or facilitator in helping
the learners meet the standards set by the K to 12 Curriculum
while overcoming their personal, social, and economic
constraints in schooling.
This learning resource hopes to engage the learners in
guided and independent learning activities at their own pace
and time. Furthermore, this also aims to help learners acquire
the needed 21st-century skills while taking into consideration
their needs and circumstances.

The hands are one of the most symbolized parts of the

human body. They are often used to depict skill, action, and
purpose. Through your hands, you may learn, create, and
accomplish. Hence, the hands in this learning resource signify
that you, as a learner, are capable and empowered to
successfully achieve the relevant competencies and skills at
your own pace and time. Your academic success lies in your
own hands!
This module was designed to provide you with fun and
meaningful opportunities for guided and independent
learning. You will be enabled to process the contents of the
learning resource while being an active learner.

Objectives:
 identify the geographic, linguistic, and ethnic dimensions
of Philippine literary history from precolonial to the
contemporary EN12Lit-Ia-21
 . identify representative texts and authors from each
region (e.g. engage in oral history research with focus on
key personalities from the students’ region/province/
town) EN12Lit-Ib-22
 value the contributions of local writers to the development
of regional literary traditions EN12Lit-Ic-23
 differentiate/compare and contrast the various 21st
century literary genres and the ones from the earlier
genres/periods citing their elements, structures and
traditions EN12Lit-Id-25
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  appreciate the contributions of the canonical Filipino
writers to the development of national literature EN12Lit-
Ic-24

Module 1: Geographic, Linguistic and Ethnic Dimensions

of Philippine Literary History from Pre-Colonial to the
Contemporary

Lesson 1: Geographic, Linguistic and Ethnic Dimensions

of Philippine Literary History from Pre-Colonial to the
Contemporary

Our forefathers already had their literature, which

reflected in their customs and traditions. They had their
alphabet even before they had colonized. The Spanish friars
burned their alphabet in the belief that they were works of the
devil or were written on materials that quickly perished, like
the barks of trees, dried leaves, and bamboo cylinders, which
could not have remained firm even if efforts were made to
preserve them. Our unique geographic location is the reason
why we are rich.

PRE-SPANISH LITERATURE - is characterized by:

• Folk tales. These are made up of stories about life,
adventure, love, horror, and humor where one can derive
lessons.
An example of this is THE MOON AND THE SUN.
• The Epic Age. Epics are long narrative poems in which a
series of heroic achievements or events, usually of a hero, are
dealt with at length.
• Folk Songs. These are one of the oldest forms of Philippine
literature that emerged in the pre-Spanish period. These
songs mirrored the early forms of culture. Many of these have
12 syllables.

Examples of which are Kundiman, Kumintang o Tagumpay,

Ang Dalit o Imno, Ang Oyayi o Hele, Diana, Soliraning and
Talindaw

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Understanding Literary History

Literature in this period may be classified as religious

prose and poetry and secular prose and poetry.
• Spanish Influences on Philippine Literature
The first Filipino alphabet, called ALIBATA, was replaced by
the Roman alphabet. Also, the teaching of the Christian
Doctrine became the basis of religious practices. European
legends and traditions brought here became assimilated in
our songs, corridos, and moro-moros.
• Folk Songs
It manifests the artistic feelings of the Filipinos and shows
their innate appreciation for and love of beauty. The examples
are Leron-Leron Sinta, Pamulinawen, Dandansoy, Sarong
Banggi, and Atin Cu Pung Sing-sing.
• Recreational Plays
There were many recreational plays performed by Filipinos
during the Spanish times. Almost all of them were in a poetic
form such Cenaculo, Panunuluyan, Salubong and Zarzuela.

PERIOD OF ENLIGHTENMENT (1972- 1898)

In 19th Century, Filipino intellectuals educated in Europe
called Ilustrados began to write about the hitch of
colonization. The Propaganda Movement (1872-1896) - This
movement was spearheaded mostly by the intellectual middle-
class like Jose Rizal, Marcelo del Pilar; Graciano Lopez Jaena,
Antonio Luna, Mariano Ponce, Jose Ma.
Panganiban, and Pedro Paterno.

o Some of Rizal’s writings: Noli Me Tangere, Mi Ultimo Adios,

Sobre La Indolencia Delos Filipinos and Filipinas Dentro De
Cien Aňos.

o Some of Del Pilar’s writings: Pagibig sa Tinubuang Lupa

(Love of Country), Kaingat Kayo (Be Careful), and Dasalan at
Tocsohan
(Prayers and Jokes).
o Some of Jaena’s writings: Ang Fray Botod, La Hija Del Fraile
(The Child of the Friar), and Everything Is Hambug
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(Everything is mere show), Sa Mga Pilipino...1891), and
Talumpating Pagunita Kay Kolumbus (An Oration to
Commemorate Columbus).

THE AMERICAN REGIME (1898-1944)

Linguistically, Americans influenced Filipino writers to
write using English language. Jose Garcia Villa became
famous for his free verse.

Characteristics of Literature during this period:

The languages used in writing were Spanish and Tagalog
and the dialects of the different regions. But the writers in
Tagalog, continued in their lamentations on the conditions of
the country and their attempts to arouse love for one’s native
tongue and the writers in English imitated the themes and
methods of the Americans.

THE JAPANESE PERIOD (1941-1945)

Philippine Literature was interrupted in its development
when another foreign country, Japan, conquered the
Philippines between1941-1945. Philippine literature in
English came to a halt. This led to all newspapers not to be
circulated in the community except for TRIBUNE and
PHILIPPINE REVIEW.

o Filipino Poetry during this period

The common theme of most poems during the Japanese
occupation was nationalism, country, love, and life in the
barrios, faith, religion, and the arts.

o Three types of poems emerged during this period:

a. Haiku, a poem of free verse that the Japanese like. It was

made up of 17 syllables divided into three lines and
b. Tanaga – like the Haiku, is short, but it had measure and
rhyme.
c. Karaniwang Anyo (Usual Form)

PHILIPPINE LITERATURE IN ENGLISH (1941-1945)

Because of the strict prohibitions imposed by the
Japanese in the writing and publishing of works in English,
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Philippine literature in English experienced a dark period. For
the first twenty years, many books were published both in
Filipino and in English.
In the New Filipino Literature, Philippine literature in
Tagalog was revived during this period. Most themes in the
writings dealt with Japanese brutalities, the poverty of life
under the Japanese government, and the brave guerilla
exploits.

PERIOD OF ACTIVISM (1970-1972)

According to Pociano Pineda, youth activism in 1970-72
was due to domestic and worldwide causes. Because of the ills
of society, the youth moved to seek reforms.

The Literary Revolution

The youth became vocal with their sentiments. They
demanded a change in the government. It was manifested in
the bloody demonstrations and the sidewalk expressions and
also in literature.

PERIOD OF THE NEW SOCIETY (1972- 1980)

The period of the New Society started on September 21,
1972. The Carlos Palanca Awards continued to give annual
awards. Poems dealt with patience, regard for native culture,
customs, and the beauties of nature and surroundings.
Newspapers donned new forms.

News on economic progress, discipline, culture, tourism,

and the like were favored more than the sensationalized
reporting of killings, rape, and robberies. Filipinos before were
hooked in reading magazines and comics.

PERIOD OF THE THIRD REPUBLIC (1981-1985)

After ten years of military rule and some changes in the
life of the Filipino, which started under the New Society,
Martial Rule was at last lifted on January 2, 1981.
The Philippines became a new nation, and this, former
President Marcos called “The New Republic of the Philippines.”
Poems during this period of the Third Republic were romantic
and revolutionary. Many Filipino songs dealt with themes
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that were true-to-life like those of grief, poverty, aspirations
for freedom, love of God, of country and fellowmen.

POST-EDSA 1 REVOLUTION (1986-1995)

History took another twist. Once more, the Filipino people
regained their independence, which they lost twenty years
ago. In four days from February 21-25, 1986, the so-called
People Power (Lakas ng Bayan) prevailed. In the short span of
the existence of the real Republic of the Philippines, several
changes already became evident. It was noticed in the new
Filipino songs, newspapers, speeches, and even in the
television programs. The now crony newspapers that enjoyed
an overnight increase in circulation were THE INQUIRER,
MALAYA, and the PEOPLE’S JOURNAL.

21st CENTURY PERIOD

The new trends have been used and introduced to meet
the needs and tastes of the new generation. 21st Century
learners are demanded to be ICT inclined to compete with the
style and format of writing as well. New codes or lingos are
used to add flavor in the literary pieces produced nowadays.

Lesson 2: Identifying Representative Texts from the

Regions

The country’s rich repertoire of literary masterpieces may

be rooted in the diverse cultural heritage of the Filipino people.
They have produced varied texts because of differences. The
mighty roar of the North and the fiery temperament of the
South blended well. The Filipinos speak of the collective
experiences from the people who have gone through
difficulties, triumphs, struggles, successes, armed conflicts,
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bloodless revolutions, and others. It is the reason why these
masterpieces resonated loud and clear in the Philippine
archipelago.

A Taste of Philippine Poetry

Located in the northwest of Luzon, the Ilocos Region or

Region 1 is comprised of four provinces, namely: Ilocos Norte,
Ilocos Sur, La Union, and Pangasinan. It is bordered to the
west by the turbulent South China Sea, to the east by the
Cordillera Administrative Region, the northeast and southeast
by Cagayan Valley and the South by Central Luzon. Most of
the inhabitants of the Ilocano homeland are concentrated
along a narrow coastal plain. Because of geographical
boundaries, these people often experience heavy rains and
violent typhoons, especially during rainy seasons.
The region, then, takes pride in long stretches of white
sand and clear waters alongside its rich cultural heritage.
What you are about to read is a poem written by a Carlos
Palanca Memorial Awardee in Poetry in 1964, Carlos A.
Angeles. His collection of poems entitled, Stun of Jewels, also
bagged him the Republic Cultural
Heritage Award in Literature in the same year.

A Moment of Silence
Gabu depicts a coastline in Ilocos that is constantly
experiencing the battering restlessness of the sea. The water
that comes back to the shore seems furious and ruthless with
its daylong bashing, which havocs the wasteland. Being an
archipelagic country, the Philippines knows the importance of
water and the sea.

A Taste of Tagalog Essay

More popularly known now as the CALABARZON referring
to the provinces of Cavite, Laguna, Batangas, Rizal, and
Quezon, Region IV-A is home to Tagalogspeaking people in the
Philippines. Recognized all over the country for their bravery
and fearlessness in battles, CALABARZON has participated
actively in the country’s fight for freedom and democracy. It is
home to many Philippine heroes foremost, and among them

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are Rizal of Laguna, Mabini of Batangas, and Aguinaldo of
Cavite.

A Taste of Creative Nonfiction

The island of Visayas is one of the major geographical
divisions in the Philippines, the other two being Luzon and
Mindanao. It is divided into Western, Central, and
Eastern Visayas. The Visayas region is comprised of several
islands circling the Visayan Sea. Its people, therefore, share a
sea-based culture and tradition that may be rooted in a strong
religious foundation. The dwelling place of many festivals
such as the Ati-Atihan, Di-nagyang, Sinulog,
Pintados, and Maskara, the Visayas may indeed be considered
as one of the cradles of Philippine civilization.
Activity 1: Characterize Me!
Directions: Complete the table below by writing the
characteristics of the following literature during the Pre
Spanish Period

Activity 1.2: Short Reflection

1. In what ways can you as a Filipino reader be affected by

such works (short stories in Tagalog) that endeavor to open
the minds of people on socio-political and moral issues
confronting the country?

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____________________________________________________________
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____________________________________________________________
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Module 2: Geographic, Linguistic and Ethnic Dimensions

of Philippine Literary History from Pre-Colonial to the
Contemporary

Lesson 1: Conventional and 21st Century Genres

21st Century Literature

21st Century Literature refers to new literary work created
within the last decade. It is written by contemporary authors
which may deal with current themes/ issues and reflects a
technological culture. It often breaks traditional writing rules.

21st Century Reader

A 21st Century Reader grew up using technology as a
primary learning tool. He is capable of navigating and
interpreting digital formats and media messages. He also
possesses literacy skills, which include technological abilities
such as keyboarding, internet navigation, interpretation of
technological speak, ability to communicate and interpret
coded language and decipher graphics.

Major Literary Genres

POETRY- is an imaginative awareness of experience expressed

through meaning, sound and rhythmic language choices to
evoke an emotional response. It has been known to employ
meter and rhyme. The very nature of poetry as an authentic

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and individual mode of expression makes it nearly impossible
to define.

DRAMA- is a composition in prose or verse presenting in

dialogue or pantomime a story involving conflict more contrast
of character, especially on intended to be acted on a stage: a
play. It may be any situation or series of events having vivid,
emotional, conflicting or striking interest.

FICTION- is literature created from the imagination, not

presented as fact, though it may be based on a true story or
situation. Types of literature in the fiction include the novel,
short story and novella.

NON-FICTION- is based on facts and the author’s opinion

about a subject. The purpose of non-fiction writing is to
inform and sometimes to persuade. Its examples are
biographies, articles from textbooks and magazines and
newspapers.

21st Century Literature Genres

ILLUSTRATED NOVEL
• Story through text and illustrated images
• 50% of the narrative is presented without words
• The reader must interpret the images to comprehend the
story completely.
• Textual portions are presented in traditional form.
• Some illustrated novels may contain no text at all.
• Span all genres.
• Examples include The Invention of Hugo Cabret by Brian
Selznick and The Arrival by Shaun Tan.

DIGI-FICTION
• Triple Media Literature
• Combines three media: book, movie/video and internet
website
To get the full story, students must engage in navigation,
reading, and viewing in all three forms.
• Patrick Carman’s Skeleton Creek and Anthony Zuiker’s Level
26 are examples.
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GRAPHIC NOVEL
• Narrative in comic book formats
• Narrative work in which the story is conveyed to the reader
using a comic form.
• The term is employed in broadly manner, encompassing
non-fiction works and thematically linked short stories as well
as fictional stories across a number of genres.
• Archie Comics by John Goldwater and illustrator, Bob
Montana, is a good example.

MANGA
• Japanese word for comics
• It is used in the English-speaking world as a generic term
for all comic books and graphic novels originally published in
Japan.
• Considered as an artistic and storytelling style.
• Ameri-manga- sometimes used to refer to comics created by
American artists in manga style.
• Shonen- Boy’s Manga (Naruto, Bleach, One Piece)
• Shojo- Girl’s Manga (Sailormoon)
• Seinen- Men’s Manga (Akira)
• Josei- Women’s Manga (Loveless, Paradise Kiss)
• Kodomo- Children’s Manga (Doraemon, Hello Kitty)
DOODLE FICTION
• Literary presentation where the author incorporates doodle
writing, drawings and handwritten graphics in place of the
traditional font.
• Drawing enhances the story, often adding humorous
elements
• Examples include The Diary of a Wimpy Kid by Jeff Kinney
and Timmy Failure by Stephan Pastis.

TEXT-TALK NOVELS
• Blogs, email and IM format narratives
• Stories told almost entirely in dialogue simulating social
network exchanges.
CHICK LIT or CHICK LITERATURE
• Is genre fiction which addresses issues of modern
womanhood, often humorously and light heartedly.

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• Chick Lit typically features a female protagonist whose
femininity is heavily thermalizing in the plot.
• Scarlet Bailey’s The night before Christmas and Miranda
Dickinson’s It started with a Kiss are examples of this.

FLASH FICTION

• Is a style of fictional literature of extreme brevity

• There is no widely accepted definition of the length and
category. Itcould range from word to a thousand.

SIX-WORD FLASH FICTION

• Ernest Hemingway: For sale: baby socks, never worn.
• Margaret Atwood: Longed for him. Got him, Shit.

CREATIVE NON-FICTION
• Also known as literary non-fiction or narrative non-fiction
• A genre of writing that uses literary styles and techniques to
create factually accurate narratives.
• Contrasts with other non-fiction, such as technical writing
or journalism, which is also rooted in accurate fact, but is not
primarily written in service to its craft.
• As a genre, creative non-fiction is still relatively young and
is only beginning to be scrutinized with the same critical
analysis given to fiction and poetry.
• 1000 Gifts by Ann Voscamp and Wind, Sand, and Stars by
Antoine de Saint-Exupery are examples.

SCIENCE FICTION
• Is a genre of speculative fiction dealing with imaginative
concepts such as futuristic science and technology, space
travel, time travel, faster than light travel, a parallel universe
and extra-terrestrial life.
• Often explores the potential consequences of scientific and
other innovations and has been called a “literature of ideas”.
• Examples include Suzanne Collins’ Mockingjay and Sarah
Maas’ Kingdom of Ash.

BLOG

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• A weblog, a website containing short articles called posts
that are changed regularly.
• Some blogs are written by one person containing his or her
own opinions, interests and experiences, while others are
written by different people.

HYPER POETRY
• Digital poetry that uses links and hypertext mark-up
• It can either involved set words, phrases, lines, etc. that are
presented in variable order but sit on the page much as
traditional poetry does, or it can contain parts of the poem
that move and transform.
• It is usually found online, through CD-ROM and diskette
versions exist. The earliest examples date to no later than the
mid-1980’s.

Activity 2: Compare and Contrast

Directions: Compare and contrast these modern literary

genres using the Venn diagram.

Module 3: Geographic, Linguistic and Ethnic Dimensions

of Philippine Literary History from Pre-Colonial to the
Contemporary

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Lesson 1: Context and Text’s Meanings

Padre Faura Witness The Execution of Rizal

Author: Danton Remoto
(Poetry)

I stand on the roof

Of the Ateneo municipal,
Shivering
On this December morning.
Months ago,
Pepe came to me
In the observatory.
I thought we would talk
About the stars
That do not collide
In the sky:
Instead, he asked me about purgatory
(His cheeks still ruddy
From the sudden sun
After the bitter winter
In Europe
And on this day
With the years beginning to turn,
Salt things my eyes.
I see Pepe,
A blur
Between the soldiers
With their Mausers raised
And the early morning’s
Star:
Still shimmering
Even if millions of miles away,
The star itself
Is already dead

Context originates from the notion of weaving together. It

is defined as the circumstances that form the setting of events,
statements, or ideas and in the way of which it can be fully
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understood and assessed. Reading a literary piece may
contribute to the production of the author and the reception
of the reader as they appreciate and explore.
● The writer's context is knowing about the writer's life,
values, assumptions, gender, race, sexual orientation, and the
political and economic issues related to the author.
● Reader's context is about the reader's previous reading
experience, values, and assumptions, political and economic
issues.
● The text's context is about its publishing history. It is part
of the larger text such as newspaper, history, events,
translated in it.
● Social context and socio-cultural of a text feature the society
in which the characters live and in which the author's text
was produced.
In this lesson, you will unravel what goes with the poem.
The structure of the poem refers to words that are put together
or arranged such that they make sense.
Imagery is creating a picture in the reader's mind by using
words that appeal to the senses. There are types of Imagery
that are used in this module. (Menoy 2016))

● Visual imagery produced by the use of words that appeal to

the sense of sight.
● Auditory Imagery produced by the use of words that appeal
to the sense of hearing.
● Kinesthetic imagery produced by the use of words that
appeal to the actions and movement.

Literary Techniques are methods the author or writer of a

literary piece used to convey what they want to impart to the
reader, such as Flashback where the events have taken place
before the present time the narration is following.

Activity 3: Understanding the Text

To understand a piece of literature, answering the given

questions enable the readers to appreciate literature more.
Multiple Choice. Read each question. Encircle the letter of
your best answer.
1. Who was Fr. F. Faura to Jose Rizal?
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a. His godfather
b. His uncle
c. His teacher
d. His friend
2. What was the nickname given to Jose Rizal mentioned in
the poem?
a. Star
b. Mauser
c. Ruddy
d. Pepe
3. Why Padre Faura expected that they would talk about the
stars?
a. Because Padre Faura worked in the observatory
b. Because Pepe was a star
c. Because Pepe just arrived from Europe
d. Because Pepe was fascinated in the observatory
4. Why Padre Faura was in the observatory when Pepe visited
him?
a. It was the only place where they could talk.
b. He was in-charged in the observatory.
c. The observatory was near the Ateneo De Manila
d. The observatory was near Bagunbayan.
5. Why instead of stars, Pepe asked about purgatory to Padre
Faura. Purgatory is___
a. is a state where the souls can pass by to rest before going
up to heaven.
b. is the place for eternal rest
c. is a place where souls rest.
d. is a state where souls go through a process of cleansing, by
suffering for a time after death on account of their sins, so as
to attain final union with
God.

Activity 3.2: Knowing the Author’s Context

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Reflect on the importance of a biographical context in
understanding a text.

1. Discuss the environment that surrounds the author while

writing the poem.
Prove your answer.
____________________________________________________________
___________________________________________________________
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_______________________________________________

2. Discuss the occurring event in the society during that time

that influences the author in writing the poem.
____________________________________________________________
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___________________________________________________________
_______________________________________________

3. Discuss the message of the author in the poem.

____________________________________________________________
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Module 4: Creative Representation of the Literary Text

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Lesson 1: Multimedia Formats in Interpreting Literary
Text

Have you found studying literature more exciting with

multimedia supports where you can actively and
collaboratively build knowledge structures using technology?
Evidently, most of the learners like you have realized the huge
impact of the use of multimedia in studying literature. It
provides opportunities for learners like you to construct and
reconstruct your ideas in audio and visual formats. Through
multimedia platforms, you can apply a wide range of
strategies to understand, interpret and evaluate texts.

Marshall (2001) defined multimedia as computer-

controlled integration of text, graphics, drawings, still and
moving images (video), animation, audio, and any other media
where every type of information can be represented, stored,
transmitted and processed digitally.
Here are some of the multimedia formats that you can use
to creatively interpret various genres of literary texts.

1. Blog or a “weblog” is a website containing informational

articles about a person’s own opinions, interests and
experiences. These are usually changed regularly (DepEd
2013, 9).

2. Mind mapping is a graphical technique to visualize

connections of ideas andpieces of information. This tool
structures information to better analyze,comprehend,
synthesize, recall and generate new ideas. You can use
MicrosoftWord or online mind mapping tools in creating
a mind map (Pasuello 2017).

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3. Mobile phone text tula is a traditional Filipino poem. A
particular example of this poem is a tanaga that consists
of 4 lines with 7 syllables each with the same rhyme at
the end of each line. (DepEd 2013, 8).

4. Slideshow presentation is created with the use of

Microsoft PowerPoint. It contains series of pictures or
pages of information (slides) arranged in sequence and
often displayed on a large screen using a video projector
(Computer Hope 2018).

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5. Tag cloud is a visual, stylized arrangement of words or
tags within a textual content such as websites, articles,
speeches and databases (Techopedia 2020).

6. Video is an electronic device used to record, copy,

playback, broadcast, and display moving visual media
(Lexico 2020).

Activity 4: Multiple Choice

Direction: Choose the letter of the best answer. Encircle the

letter of your best answer.
1. Which is of the following is NOT a multimedia format that
a learner can use to interpret literary texts?
a. blog
b. slogan
c. text tula
d. tag cloud

2. Which Filipino poem consists of four lines with seven

syllables each with the same rhyme at the end of each line?
a. ode
b. haiku
c. tanaga
d. corrido

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3. It is an electronic medium for recording, copying,
replaying, broadcasting and displaying of moving visual
media.
a. video
b. tag cloud
c. mind mapping
d. PowerPoint presentation

4. Which Microsoft Office application can a learner use to

create a slideshow presentation?
a. Word
b. Excel
c. Paint
d. PowerPoint

5. Which of the statements is TRUE?

a. All multimedia formats are hard to use.
b. Multimedia uses animation and audio only.
c. Learners can only make use of one multimedia format.
d. Studying literature becomes more exciting due to
multimedia supports.

6. It is a graphical way to represent ideas and concepts.

a. tags
b. video
c. mind mapping
d. mobile phone text tula

7. If a learner wishes to interpret the essay, “Where is the

Patis?” of C. Guerrero-Nakpil by expressing his insights in
order to elicit opinions of other people, he may create a
__________.
a. blog c. text tula
b. video d. mind mapping

8. This refers to a visual, stylized method that represents

the occurrence of words within a textual content of a
website.
a. video
b. tag cloud
c. music video
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d. slideshow presentation

9. Multimedia is a computer-controlled integration of many

forms of media EXCEPT____________.
a. text
b. video
c. audio
d. equipment
10. It is a website that contains short articles called posts
that are updated regularly.
a. blog
b. tags
c. slides
d. message

Module 5: Elements of Short Story

Lesson 1: Basic Elements of a Short Story

A short story has six basic elements that you as a reader

should look for when analyzing one. Every story begins with
a seed of an idea. Hence, the author should think of these
basic elements when writing a story. Although not all stories
put equal importance on every aspect, each of these
elements must be expected in the story.
At the end of this lesson, you are expected to do a self-
and/or peer assessment of the creative adaptation of a
literary text based on rationalized criteria.

Read and learn more about the story and find out how the
basic elements are used.

SINIGANG
Marie Aubrey J. Villaceran

“So, what happened?”

She had finally decided to ask the question. I had been

wondering how long my Tita Loleng could contain her
curiosity.
23
I continued to pick out tomatoes for the Sinigang we were to
have for dinner. I wasn’t usually the one who assisted my
aunt with the cooking. She preferred my younger sister,
Meg, for I knew far less in this area—not having the
aptitude, or the interest, I guess—for remembering recipes.
That didn’t matter today, though. This time, Tita Loleng
wanted more than just an extra pair of hands in the kitchen.

“Nothing much,” I answered offhandedly. “We did what

people usually do during funerals.” I reminded myself to
tread carefully with her. Though I did not really feel like
talking, I could not tell her off for she took offense rather
easily.

I put the tomatoes in the small palanggana, careful not to

bruise their delicate skin, and carried them to the sink.

“Did you meet…her?” Tita Loleng asked.

There came to me a memory of sitting in one of the smaller

narra sofas in the living room in Bulacan. I faced a smooth
white coffin whose corners bore gold-plated figures of
cherubs framed by elaborate swirls resembling thick,
curling vines. Two golden candelabras, each supporting
three rows of high-wattage electric candles, flanked the
coffin and seared the white kalachuchi in the funeral
wreaths, causing the flowers to release more of their heady
scent before they wilted prematurely. Through an open
doorway, I could see into the next room where a few
unfamiliar faces held murmured conversations above their
coffee cups.

“Are you Liza?” A woman beside me suddenly asked.

I was surprised, for I had not heard anyone approaching.

Most of the mourners preferred to stay out on the veranda
for fear that the heat from the lights might also cause them
to wither.

24
I looked up slowly: long, slim feet with mauve-painted
toenails that peeked through the opening of a pair of scruffy-
looking slippers; smooth legs unmarred by swollen veins or
scars—so unlike the spider-veined legs of my mom—
encased in a black, pencil-cut skirt; a white blouse with its
sleeves too long for the wearer, causing the extra fabric to
bunch around the cuffs; a slim neck whose skin sagged just
a little bit; and a pale face that seemed like it had not
experienced sleep in days. The woman looked to me like she
was in her forties—the same age as my mother.

“Yes,” I had answered that woman—the same answer I now

gave to Tita Loleng.

I gently spilled out all the tomatoes into the sink and turned
on the tap. The water, like agua bendita, cleansed each
tomato of the grime from its origins.

“What did she tell you?” Tita Loleng asked.

“Nothing much. She told me who she was.”

“What did she look like?”

“She’s pretty, I guess.”

She was. She looked like she had Indian blood with her
sharp nose and deep-set eyes thickly bordered by long
lashes. Just like Mom, she still maintained a slim figure
though she already had children. The woman, upon seeing
my curious stare, had explained, “I am Sylvia.”

All my muscles tensed upon hearing her name. It took all

my self-control to outwardly remain calm and simply raise
an eyebrow.

My reaction caused a range of emotion to cross the woman’s

face before it finally crumbled and gave way to tears.
Suddenly, she grabbed my hand from where it had been
resting on the arm of the sofa. Her own hands were damp
and sticky with sweat. She knelt in front of me—a sinner
25
confessing before a priest so he could wash away the dirt
from her past.

But I was not a priest. I looked down at her and my face

remained impassive.

When her weeping had subsided, she raised her head and
looked at me. “Everyone makes mistakes, Liza.” Her eyes
begged for understanding.

It was a line straight out of a Filipino soap opera. I had a

feeling that the whole situation was a scene from a very bad
melodrama I was watching.

I looked around to see if anyone had witnessed the spectacle

unfolding in this living room, but it was as if an invisible
director had banned all but the actors from the set. Except
for us, not a soul could be seen.

I wanted Sylvia to free my hand so I nodded and pretended

to understand. Apparently convinced, she let go and, to my
shock, suddenly hugged me tight. My nose wrinkled as the
pungent mix of heavy perfume and sweat assailed me. I
wanted to scream at her to let go but I did not move away.

“Hmm, I think they’re washed enough na.” Tita Loleng said.

Turning off the tap, I placed the tomatoes inside the basin
once more. Then, as an afterthought, I told my Tita, “I don’t
think she is as pretty as Mom, though.”

Tita Loleng nodded understandingly. She gestured for me to

place the basin on the table where she already had the
knives and chopping board ready.

“Where was your Dad when she was talking to you?”

“Oh, he was sleeping in one of the bedrooms. Mom did not
want to wake him up because they told her he had not slept
for two nights straight.”

26
Tita Loleng snorted. “Haay, your mother talaga,” she said,
shaking her head.

I had to smile at that before continuing. “When he saw me,

Sylvia had already been called away to entertain some of the
visitors.”

“Was he surprised to see you?” Tita knew that I had not

wanted to go to the funeral. Actually, she was one of the few
people who respected, and understood, my decision.

“No.” I sliced each of the tomatoes in quarters. The blade of

the knife clacked fiercely against the hard wood of the
chopping board. “He requested Mom to make me go there.”
We both knew that I could never have refused my mother
once she insisted that I attend. I had even gone out and
gotten drunk with some friends the night before we were to
leave just so I could have an excuse not to go, but my mom
was inflexible. She had ordered my two sisters to wake me
up.
Tita Loleng gave me a sympathetic look. “No choice then,
huh?” She was forever baffled at the way my mother could
be such a martyr when it came to my father and such a
tyrant to her children.

Clack! Clack! The knife hacked violently against the board.

“Nope.”

When my Dad had come out of the room, I remembered

sensing it immediately—the same way an animal
instinctively perceives when it is in danger. I had been
looking at the face of my dead half-brother, searching for
any resemblance between us. Chemotherapy had sunk his
cheeks and had made his hair fall out, but even in this
condition, I could see how handsome he must have been
before his treatment. His framed photograph atop the glass
covering of the coffin confirmed this. Lem took after my
father so much that Dad could never even hope to deny that
he was his son. I, on the other hand, had taken after my
mother.
27
I knew my father was staring at me but I refused look at
him. He approached and stood next to me. I remained silent.

“I am glad you came,” he said.

I gave him a non-committal nod, not even glancing his

way.Tita Loleng interrupted my thoughts with another one
of her questions.

“Did you cry?”

I shook my head vehemently as I answered, “No.”

I took the sliced tomatoes, surprised to find not even a

splinter of wood with them, as well as the onions Tita Loleng
had chopped and put them in a pot. “What next?” I asked
her.
“The salt.” Then she went and added a heaping
tablespoonful of salt to the pot.

“Is that all?”

“Uh-huh. Your Mom and I prefer it a bit saltier, but your

Dad likes it this way.” Then she gestured towards the pot,
closing and opening her fist like a baby flexing its fingers.

I started crushing the onions, tomatoes, and salt together

with my hand.

“He was an acolyte in church,” my father had said then,

finally splintering the silence I had adamantly maintained.
“Father Mario said that we shouldn’t feel sad because Lem
is assured of going to a better place because he was such a
good child.” Good, I thought, unlike me whom he always
called “Sinverguenza”, the shameless daughter.

I finally turned to him. There was only one question I needed

to ask. “Why?”

28
He met my gaze. I waited but he would not—could not—
answer me. He looked away.

My mask of indifference slipped. It felt like a giant hand was

rubbing salt into me, squeezing and mashing, unsatisfied
until all of me had been crushed.

“Stop it na, Liza!” Tita Loleng exclaimed. “Anymore of that

mashing and you will be putting bits of your own flesh and
bone in there,” my aunt warned. She went to the refrigerator
and took out plastic bags containing vegetables. She placed
them in the sink. “All of these will be needed for the
sinigang,” she said. “Prepare them while you’re softening the
meat.” Then she took off her apron, “You go and finish off
here. I will just go to my room and stretch my back out a
bit.” With a tender pat on my head, she walked out of the
kitchen.

I breathed a sigh of relief. The questions had stopped, for

now.

I poured the hugas bigas into the mass of crushed onions

and tomatoes and addedthe chunks of beef into the
concoction before covering the pot and placing it on
thestove. I turned on the flame. The sinigang needed to
simmer for close to an hour to tenderize the meat.

In the meantime, I started preparing all the other

ingredients that will be added to the pot later on. Taking all
the plastic bags, I unloaded their contents into the sink then
washed and drained each vegetable thoroughly before
putting them beside my chopping board.

I reached for the bunch of kangkong and began breaking off

choice sections to be included in the stew. When I was a
child, before Tita Loleng had chosen to stay with us, my
mom used to do the cooking and she would have Meg and I
sit beside her while she readied the meals. I remembered
that whenever it came to any dish involving kangkong, I
would always insist on preparing it because I loved the crisp
popping sound the vegetable made whenever I broke off a
29
stem. It was on one such occasion, I was in second year high
school by then but still insistent on kangkong preparation,
when Mom had divulged the truth about the boy who kept
calling Dad on the phone every day at home. Meg had also
been there, breaking off string beans into two-inch sections.
Neither of us had reacted much then, but between us, I
knew I was more affected by what Mom had said because
right until then, I had always been Daddy’s girl.

When the kangkong was done, I threw away the tough,

unwanted parts and reached for the labanos. I used a peeler
to strip away the skin—revealing the white, slightly grainy
flesh—and then sliced each root diagonally. Next came the
sigarilyas, and finally, the string beans.

Once, I asked Tita Loleng how she knew what type of

vegetable to put into sinigang and she said, “Well, one never
really knows which will taste good until one has tried it. I
mean, some people cook sinigang with guavas, some with
kamias. It is a dish whose recipe would depend mostly on
the taste of those who will do the eating.”

I got a fork and went to the stove where the meat was
simmering. I prodded the chunks to test whether they were
tender enough—and they were. After pouring in some more
of the rice washing, I cleared the table and waited for the
stew to boil.

A few minutes later, the sound of rapidly popping bubbles

declared that it was now time to add the powdered tamarind
mix. I poured in the whole packet and stirred.
Then I took the vegetables and added them, a fistful at a
time, to the pot. As I did so, I remembered the flower petals
each of my two sisters and I had thrown, fistful by fistful,
into the freshly dug grave as Lem’s casket was being lowered
into it.

My dad was crying beside me and I recalled thinking, would

he be the same if I was the one who had died? I glanced up
at him and was surprised to find that he was looking at me.
His hand, heavy with sadness, fell on my shoulder.
30
“I’m sorry,” he had told me.

I let the stew boil for a few more minutes before turning off
the fire.

The sinigang would be served later during dinner. I pictured

myself seated in my usual place beside my father who is at
the head of the table. He would tell Mom about his day and
then he would ask each of us about our own. I would
answer, not in the animated way I would have done when I
was still young and his pet, but politely and without any
rancor.

Then, he would complement me on the way I had cooked his

favorite dish and I would give him a smile that would never
quite show, not even in my eyes.

Discussion guide:
1. Where did the story happen?
2. Who were the characters in the story?
3. What do you think led to the emotional separation of Liza
from her father?
4. What is the most interesting part of the story?
5. What was the story about?
6. Who narrated the story?

BASIC ELEMENTS OF A SHORT STORY

1. Character– A character in a short story is a person, in

some stories an animal, who takes part in the action of
the story or other literary work. The way an author
develops the character in a story is very important in
making the story appeal to the readers. It is said that the
heart of the story are the characters. The two most
important characters in a short story are the protagonist
and the antagonist.

a. The protagonist is considered as the main character or

most important of all the characters. It is the character
31
 who learns something or undergoes some changes
throughout the course of the story. Some stories depict
the protagonist as the hero of the story, while in other
stories the protagonist is not considered a hero as he has
done nothing heroic. In any case, the story always revolve
around the protagonist.

b. The antagonist is the character that challenges the main

character. It has no concern for the well-being of the main
character. The antagonist may be a person, the nature,
the society, or any intangible matter that contends with
or creates a problem for the protagonist.

2. Setting– The place (locale) and time (period) when the

story happens is called the setting. The setting may be
based on real place and real time or it may also be based
on the author’s imagination. When analyzing the setting
of the story, consider where the action is taking place.
Most authors use descriptive words to describe the
landscape, scenery, buildings, season, or weather to
provide a strong sense of setting which will help the
reader visualize the story and connect to the story’s plot.

3. Plot– A plot is the actual story. It is what the story is all

about. It is also the series of events and characters’
actions that lead to the highest point of interest in a short
story.
The following are the different parts of a story’s structure:
a. Exposition –This is the beginning of the story. This is where
the author introduces the characters, identifies where the
story is happening, and establishes the main conflict.
b. Rising Action–This event occurs as you begin to move
throughout the story. This is where conflicts start to build.
c. Climax– It is the most exciting part of a short story. This is
the part in the story when important decisions are made or
important things are discovered.
d. Falling Action– This point occurs after the climax as the
problems in the story start to work themselves out. The
excitement becomes less and less as the conflict is resolved.

32
e. Resolution– This is the solution to the problem in a story.
The solution may not be what you hoped for but as long as it
fits the story in tone and theme, the conflict has been resolved.

4. Conflict– Every story needs to have a problem and this

problem is called conflict. The main character, also called
the protagonist, needs to have someone or something to
challenge him. Without conflict, the story will not go
anywhere and will not be very interesting to the readers.
The main character may be faced with one of the four
different types of conflict.
These four types of conflict are:
● man versus man;
● man versus nature;
● man versus himself; and
● man versus society.

5. Theme- This is the central idea in a short story and a

general truth. This is considered as the author’s message
to the readers.

6. Point of View – This is the way the story is told or

narrated. It is also known as the vantage point that a
writer uses to narrate the story.

The following are the types of point of view in a short story:

a. First Person – the narrator participates in and tells the
story using the pronoun ‘I’.
b. Limited Third Person – the narrator is not in the story and
narrates using the pronouns ‘she’ or ‘he’. Also, the narrator
is unable to see into the minds of the characters.
c. Omniscient Third Person – the narrator is not in the story
and tells the story using the pronouns ‘she’ or ‘he’. In this
point of view, the narrator can tell the thoughts of the
characters as he can see into their minds.

Activity 5: Looking for Elements

A.DIRECTIONS: Identify the six (6) elements from the short

story Sinigang.

33
 1.Setting :
_______________________________________________________
2. Characters :
_______________________________________________________
3. Plot :
_______________________________________________________
4. Conflict :
_______________________________________________________
5. Theme :
_______________________________________________________
6. Point of View :
_______________________________________________________

B. DIRECTIONS: Reflect on the short story, “Sinigang”,

by Maria Aubrey J. Villaceran and answer the questions
below. Write your answers on the space provided.

1. What significant lesson have you learned from the

story? How will you apply it in your own life?
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
2. Why do you think some married men commit extramarital
affair?
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________

3. React on this: It is ordinary in our Filipino culture for

husbands to commit adultery and look for another woman
who can satisfy their desires simply because they are men
and not saints.
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
__________________________________________________________
34
Resources:

https://www.teacherph.com/21st-century-literature-from-
the-philippines-and-the-world-quarter-1-module-4/
https://www.teacherph.com/21st-century-literature-from-
the-philippines-and-the-world-quarter-1-module-1/
https://www.teacherph.com/21st-century-literature-from-
the-philippines-and-the-world-quarter-1-module-2/
http://bnvhsmodules.com/wp-
content/uploads/2020/08/EDITED_21st-Century-
Lit11_q1_mod1_geographic_v2-1-08082020.pdf

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