English-106-Discourse Analysis Graduate School Study

A lesson for Advance Philippine literature. a subject for graduate school subject for those who are majoring in english.

1. ENGLISH 101 ADVANCE PHILIPPINE LITERATURE

2. Topic Outline 1.  Nature and Importance Studying Philippine Literature 2.     General Types of Literature 3. Approaches to Literary Criticism 4. Footnote to the Youth 5. Filipinos are worth Dying for 6. My Father Goes to Court 7. The Wedding Dance 8. Song for Dry Season 9. Letter to Pedro 10. How my Brother Leon Brought Home a Wife

3.   Nature and Importance Studying Philippine Literature

4.   The word literature is derived from the Latin term litera which means letter . It has been defined differently by various writers.  

5.   Some loosely interpret literature as any printed matter written within a book, a magazine or a pamphlet. Others define literature as a faithful reproduction of man’s manifold experiences blended into one harmonious expression.  

6.   Literature is the total of preserved writings belonging to a given language or people. Literature is the class or the total of writings, of a given country or period, in which notable for literary form or expression, as distinguished, on the one hand, from works merely of technical or erudite and, on the other, from journalistic or other ephemeral writings.

7.   Literature consists of those writings which interpret the meanings of nature and life, in words of charm and power, touched with the personality of the author, in artistic forms of permanent interests. It is a product of life and about life. It uses language as medium.

8. Definition of Literature:     Because literature deals with ideas, thoughts and emotions of man, literature can be said to be the story of man. Man’s loves, griefs, thoughts, dreams and aspirations coached in beautiful language is literature .

9.   Brother Azurin , said that “literature expresses the feelings of people to society, to the government, to his surroundings, to his fellowmen and to his Divine Creator.” The expression of one’s feelings, according to him, may be through love, sorrow, happiness, hatred, anger, pity, contempt, or revenge.  

10. For Webster, literature is anything that is printed, as long as it is related to the ideas and feelings of people, whether it is true, or just a product of one’s imagination.  

11.   In PANITIKING PILIPINO written by Atienza, Ramos, Salazar and Nazal , it says that “true literature is a piece of written work which is undying. It expresses the feelings and emotions of people in response to his everyday efforts to live, to be happy in his environment and, after struggles, to reach his Creator.”

12. General Types of Literature Literature can generally be divided into two types; prose and poetry . Prose consists of those written within the common flow of conversation in sentences and paragraphs, while poetry refers to those expressions in verse, with measure and rhyme, line and stanza and has a more melodious tone.

13. I. PROSE There are many types of prose. These include the following: a. Novels. A long narrative divided into chapters and events are taken from true-to-life stories. Example: WITHOUT SEEING THE DAWN by Stevan Javellana

14. b. Short story. This is a narrative involving one or more characters, one plot and one single impression. Example: THE LAUGHTER OF MY FATHER by Carlos Bulosan

15. c. Plays. This is presented on a stage, is divided into acts and each act has many scenes. Example: THIRTEEN PLAYS by Wilfredo M. Guerrero

16. d . Legends. These are fictitious narratives, usually about origins. Example: THE BIKOL LEGEND by Pio Duran  

17. e. Fables. These are also fictitious and they deal with animals and inanimate things who speak and act like people and their purpose is to enlighten the minds of children to events that can mold their ways and attitudes. Example: THE MONKEY AND THE TURTLE  

18. f. Anecdotes. These are merely products of the writer’s imagination and the main aim is to bring out lessons to the reader. Example: THE MOTH AND THE LAMP

19. g. Essay. This expresses the viewpoint or opinion of the writer about a particular problem or event. The best example of this is the Editorial page of a newspaper.

20. h. Biography. This deals with the life of a person which may be about himself, his autobiography or that of others. Example: CAYETANO ARELLANO by Socorro O. Albert

21.   i . News. This is a report of everyday events in society, government, science and industry, and accidents, happening nationally or not.  

22.     j . Oration. This is a formal treatment of a subject and is intended to be spoken in public. It appeals to the intellect, to the will or to the emotions of the audience.  

23.       II. POETRY There are three types of poetry and these are the following:  

24. A. Narrative Poetry. This form describes important events in life either real or imaginary. The different varieties are: 1. Epic. This is an extended narrative about heroic exploits often under supernatural control. Example: THE HARVEST SONG OF ALIGUYON translated in English by Amador T. Daguio 2. Metrical Tale. This is a narrative which is written in verse and can be classified either as a ballad or a metrical romance. Examples: BAYANI NG BUKID by Al Perez HERO OF THE FIELDS by Al Perez 3. Ballads. Of the narrative poems, this is considered the shortest and simplest. It has a simple structure and tells of a single incident. There are also variations of these: love ballads, war ballads, and sea ballads, humorous, moral, and historical or mythical ballads. In the early time, this referred to a song accompanying a dance.

25.   B . Lyric Poetry. Originally, this refers to that kind of poetry meant to be sung to the accompaniment of a lyre, but now, this applies to any type of poetry that expresses emotions and feelings of the poet. They are usually short, simple and easy to understand.  

26. 1. Folksongs ( Awiting Bayan). These are short poems intended to be sung. The common theme is love, despair, grief, doubt, joy, hope and sorrow.  Example: CHIT-CHIRIT-CHIT 2.  Sonnets. This is a lyric poem of 14 lines dealing with an emotion, a feeling, or an idea. These are two types: the Italian and the Shakespearean. Example: SANTANG BUDS by Alfonso P. Santos  

27. 3. Elegy. This is a lyric poem which expresses feelings of grief and melancholy, and whose theme is death. Example: THE LOVER’S DEATH by Ricaredo Demetillo   4. Ode. This is a poem of a noble feeling, expressed with dignity, with no definite number of syllables or definite number of lines in a stanza.   5. Psalms (Dalit). This is a song praising God or the Virgin Mary and containing a philosophy of life.

28. 6. Awit (Song). These have measures of twelve syllables ( dodecasyllabic ) and slowly sung to the accompaniment of a guitar or banduria . Example: FLORANTE AT LAURA by Franciso Balagtas 7. Corridos ( Kuridos ). These have measures of eight syllables (octosyllabic) and recited to a martial beat. Example: IBONG ADARNA  

29. C. Dramatic Poetry   1. Comedy. The word comedy comes from the Greek term “komos” meaning festivity or revelry. This form usually is light and written with the purpose of amusing, and usually has a happy ending.   2. Melodrama. This is usually used in musical plays with the opera. Today, this is related to tragedy just as the farce is to comedy. It arouses immediate and intense emotion and is usually sad but there is a happy ending for the principal character.  

30. 3. Tragedy. This involves the hero struggling mightily against dynamic forces; he meets death or ruin without success and satisfaction obtained by the protagonist in a comedy. 4. Farce. This is an exaggerated comedy. It seeks to arouse mirth by laughable lines; situations are too ridiculous to be true; the characters seem to be caricatures and the motives undignified and absurd.   5. Social Poems. This form is either purely comic or tragic and it pictures the life of today. It may aim to bring about changes in the social conditions.    

31. LITERARY THEORY In the study of literature, “theory” has traditionally referred to a set of general principles that can be used to classify or otherwise analyze a literary work. In some cases, theory is used to interpret or even evaluate texts. Literary theory is the study of the principles which inform how critics make sense of literary works. A critical essay may not clearly ground itself in a particular literary theory, but some general theory or set of assumptions about literature is implied in most interpretations or analyses.

32. Approaches to Literary Criticism Literary criticism is the practice of interpreting and writing about literature as the latter, in turn, strives to make sense of the world .

33. Literary interpretation is often influenced by a person’s perspective. A female, for example, may have a stronger reaction to an individualized, feminist character than a chauvinist male might. Literary Criticism is broken down into three major categories: Emphasis on the Text Emphasis on the Source Emphasis on the Receiver

34. Marxist Theory Feminist Theory Gender Studies Theory Reader Response Theory Historical/Biographical Theory Psychoanalytic theory Formalism

35. Based on the theories of Karl Marx , this school concerns itself with class differences, economic and otherwise, as well as the implications and complications of the capitalist system. Theorists working in the Marxist tradition, therefore, are interested in answering the overarching question, whom does it benefit? The elite? The middle class? And Marxists critics are also interested in how the lower or working classes are oppressed - in everyday life and in literature. MARXIST THEORY

36. Marxist criticism views literary works as reflections of the social institutions from which they originate. Marxists believe that literary texts are a reflection of the economic base. focus on the struggle that exists between the working class and the ruling (elite) class. It emphasizes persons of the lower class and their constant oppression by the upper class.  

37. Questions to think about to analyze Marxist Theory in your book: What social classes do the characters represent? How do characters from different classes interact or have conflict with? Which class does the work claim to represent? What values does it reinforce? What values does it subvert?

38. FEMINIST THEORY This theory is about the masculine and feminine representations in literature and the social and cultural implications of them. Feminist criticism is concerned with the ways in which literature reinforce or undermine the economic, political, social, and psychological oppression of women. This school of theory looks at how aspects of our culture are inherently male dominated. This theory strives to expose the explicit and implicit misogyny in male writing about women.

39. FEMINISM also known as feminist criticism is the literary analysis that arises from the viewpoint of feminism, feminist theory and/or feminist politics. Feminist literary criticism actively supports women's knowledge in literature and valuing women's experiences Feminist literary criticism examines how works of literature embody patriarchal attitudes 3 In .  FEMINISM the ways in which literature (and other cultural productions) reinforce or undermine the economic, political, social, and psychological oppression of women

40. Questions to think about for Feminist Theory: How are male and female roles defined? How is the relationship between men and women portrayed? What are the power relationships between men and women? What gender stereotypes - overt or subtle - are portrayed? Do characters take on traits from opposite genders? How so? How does this change others’ reactions to them?

41. GENDER STUDIES THEORY This theory examines the representation of sexual orientation in a text and their social and cultural implications. A theorist will examine a text for heterosexual privilege, sexual identity and affiliation, and power imbalances based on sexual orientation. Influenced by feminist theory.

42. Questions to think about for GENDER STUDIES THEORY What elements of the text can be perceived as being masculine (active, powerful) and feminine (passive, marginalized) and how do the characters support these traditional roles? What does the work contribute to our knowledge of queer, gay, or lesbian experience and history, including literary history?

43. READER RESPONSE THEORY A reader’s response is just as, if not more than, important as the text itself. Theorist will not only analyze how a reader reacts to the text, but also how they interpret the meaning of the text. Reader-response theorists share two beliefs: 1) that the role of the reader cannot be omitted from our understanding of literature and 2) that readers do not passively consume the meaning presented to them by an objective literary text; rather they actively make the meaning they find in literature

44. READER-RESPONSE THEORY Reader response is a school of literary criticism that ignores both the author and the text's contents, confining analysis to the reader's experience when reading a particular work. It is a critical theory that stresses the importance of the role of the reader in constructing the meaning of a work of literature. Reader-response theorists recognize that texts do not interpret themselves. Even if all of our evidence for a certain interpretation comes from the work itself, and even if everyone who reads the text interprets it in the same (as improbable as that might be) it is still we, the readers, who do the interpreting, assign Reader response criticism not only allows for, but even interests itself in how these meanings to change from reader to reader and from time to time.

45. READER-RESPONSE THEORY a critic that can show how the various parts of a work are welded together to make an organic whole This approach examines a text as a self-contained object; it does not, therefore, concern itself with biographical information etc. A formalist critic examines the form of the work as a whole, the form of each individual part of the text (the individual scenes and chapters), the characters, the settings, the tone, the point of view, the diction, and all other elements of the text which join to make it a single text. After analyzing each part, the critic then describes how they work together to make give meaning (theme) to the text.

46. Questions to think about for Reader Response Theory What reaction did you have to the book and how did it influence your interpretation of the story? How do you feel about what you read? What does it make you think of? How do you evaluate the text as a reader? How does the interaction of text and reader create meaning?

47. HISTORICAL/BIOGRAPHICAL THEORY Historical / Biographical critics see works as the reflection of an author's life and times (or of the characters' life and times). They believe it is necessary to know about the author and the political, economical, and sociological context of his times in order to truly understand his works.

48. HISTORICAL APPROACH Literary criticism in the light of historical evidence or based on the context in which a work was written, including facts about the author’s life and the historical and social circumstances of the time This is in contrast to other types of criticism, such as textual and formal, in which emphasis is placed on examining the text itself while outside influences on the text are disregarded      

49. Questions to ask for Historical/Biographical Theory How did the time period in which the work was written affect how and why it was written? How would the work be perceived in its own time period? How does the author's life affect the meaning of the text? How does placing the piece in the context of our time period affect its meaning and how it is perceived?

50. Psychoanalytic Criticism calls for the understanding of the unconscious, the repressed mind in order to understand the human life experience, culture, language, and ultimately, society because the text, to critics, can only be analyzed as if it’s a dream.   In text this theory argues that because literature are much like dreams  the text represents the author’s unconscious desires, fears, anxieties, and traumas, and therefore through the text the author deals with his or her own psychosis . PSYCHOANALYTIC THEORY

51. THEORY BENEFIT: Outside of knowing of the author’s life to understand the text, psychologically, readers can also understand the character/s’ mind by what they go through within the story, especially if they have psychological problems .

52. Questions of Psychoanalytic Theorists to Interpret a Text: Through understanding the text’s author and characters readers can begin to understand their own psyche and how it plays out in society. How do operations of repression structure the world of the text?   What repressed desires/wounds lie underneath? Where are there oedipal (family/sexual) dynamics?   Where are the patterns in behaviors in the character/s? Can character’s behavior/motivation be explained psychologically?  Is this behavior a product of the culture it’s around?  What dreamlike symbols can be identified?  Are there any phallic symbols?  What do these repressed symbols/desires/ fears suggest about the author?

53. LITERARY CRITICISM ARCHETYPAL , particularly a Symbolic Archetypal – - “dry season”, which symbolizes poverty. SOCIOLOGICAL APPROACH – - The sociological approach to literature involves locating an author and his or her work in their wider social context. In the “Song for a Dry Season”, it can only be properly be understood by examining the society in which it was written.

54. FORMALISM In literary criticism, Formalism refers to a style of inquiry that focuses, almost exclusively, on features of the literary text itself, to the exclusion of biographical, historical, or intellectual contexts. The name "Formalism" derives from one of the central tenets of Formalist thought: That the form of a work of literature is inherently apart of its content, and that the attempt to separate the two is fallacious. F ocus on Form, organization, structure, Word choice, multiple language

55. STRUCTURALISM Focus on Form, organization, structure, Word choice, multiple language Structuralism is primarily concerned with the study of structure It reduces the importance of a text’s historical, biographical, and cultural context. It refers to critical approaches that analyze, interpret, or evaluate the inherent features of a text. These features include not only grammar and syntax but also literary devices such as meter and tropes. The Formalists read literary texts in order to discover their “literariness”—to highlight the devices and technical elements introduced by writers in order to make language literary.

56. My Father Goes to Court” Carlos S. Bulosan

57. About the Author Carlos S. Bulosan was a Filipino- American Novelist and poet. He was born in Binalonan , Pangasinan but at the age of 17, he immigrated to America in 1930. His best- known work is the semi- autobiographical “America is in the Heart” sometimes subtitled “A Personal History”.

58. My Father Goes To Court (Carlos Bulusan) When I was four, I lived with my mother and brothers and sisters in a small town on the island of Luzon. Father’s farm had been destroyed in 1918 by one of our sudden Philippine floods, so several years afterwards we all lived in the town though he preferred living in the country. We had as a next door neighbor a very rich man, whose sons and daughters seldom came out of the house. While we boys and girls played and sang in the sun, his children stayed inside and kept the windows closed. His house was so tall that his children could look in the window of our house and watched us played, or slept, or ate, when there was any food in the house to eat. Now, this rich man’s servants were always frying and cooking something good, and the aroma of the food was wafted down to us form the windows of the big house. We hung about and took all the wonderful smells of the food into our beings. Sometimes, in the morning, our whole family stood outside the windows of the rich man’s house and listened to the musical sizzling of thick strips of bacon or ham. I can remember one afternoon when our neighbour’s servants roasted three chickens. The chickens were young and tender and the fat that dripped into the burning coals gave off an enchanting odour. We watched the servants turn the beautiful birds and inhaled the heavenly spirit that drifted out to us. Some days the rich man appeared at a window and glowered down at us. He looked at us one by one, as though he were condemning us. We were all healthy because we went out in the sun and bathed in the cool water of the river that flowed from the mountains into the sea. Sometimes we wrestled with one another in the house before we went to play. We were always in the best of spirits and our laughter was contagious. Other neighbours who passed by our house often stopped in our yard and joined us in laughter. As time went on, the rich man’s children became thin and anaemic, while we grew even more robust and full of life. Our faces were bright and rosy, but theirs were pale and sad. The rich man started to cough at night; then he coughed day and night. His wife began coughing too. Then the children started to cough, one after the other. At night their coughing sounded like the barking of a herd of seals. We hung outside their windows and listened to them. We wondered what happened. We knew that they were not sick from the lack of nourishment because they were still always frying something delicious to eat. One day the rich man appeared at a window and stood there a long time. He looked at my sisters, who had grown fat in laughing, then at my brothers, whose arms and legs were like the molave, which is the sturdiest tree in the Philippines. He banged down the window and ran through his house, shutting all the windows. From that day on, the windows of our neighbour’s house were always closed. The children did not come out anymore. We could still hear the servants cooking in the kitchen, and no matter how tight the windows were shut, the aroma of the food came to us in the wind and drifted gratuitously into our house. One morning a policeman from the presidencia came to our house with a sealed paper. The rich man had filed a complaint against us. Father took me with him when he went to the town clerk and asked him what it was about. He told Father the man claimed that for years we had been stealing the spirit of his wealth and food. When the day came for us to appear in court, father brushed his old Army uniform and borrowed a pair of shoes from one of my brothers. We were the first to arrive. Father sat on a chair in the centre of the courtroom. Mother occupied a chair by the door. We children sat on a long bench by the wall. Father kept jumping up from his chair and stabbing the air with his arms, as though we were defending himself before an imaginary jury. The rich man arrived. He had grown old and feeble; his face was scarred with deep lines. With him was his young lawyer. Spectators came in and almost filled the chairs. The judge entered the room and sat on a high chair. We stood in a hurry and then sat down again. After the courtroom preliminaries, the judge looked at the Father. “Do you have a lawyer?” he asked. “I don’t need any lawyer, Judge,” he said. “Proceed,” said the judge.

59. The rich man’s lawyer jumped up and pointed his finger at Father. “Do you or you do not agree that you have been stealing the spirit of the complaint’s wealth and food?” “I do not!” Father said. “Do you or do you not agree that while the complaint’s servants cooked and fried fat legs of lamb or young chicken breast you and your family hung outside his windows and inhaled the heavenly spirit of the food?” “I agree.” Father said. “Do you or do you not agree that while the complaint and his children grew sickly and tubercular you and your family became strong of limb and fair in complexion?” “I agree.” Father said. “How do you account for that?” Father got up and paced around, scratching his head thoughtfully. Then he said, “I would like to see the children of complaint, Judge.” “Bring in the children of the complaint.” They came in shyly. The spectators covered their mouths with their hands, they were so amazed to see the children so thin and pale. The children walked silently to a bench and sat down without looking up. They stared at the floor and moved their hands uneasily. Father could not say anything at first. He just stood by his chair and looked at them. Finally he said, “I should like to cross – examine the complaint.” “Proceed.” “Do you claim that we stole the spirit of your wealth and became a laughing family while yours became morose and sad?” Father said. “Yes.” “Do you claim that we stole the spirit of your food by hanging outside your windows when your servants cooked it?” Father said. “Yes.” “Then we are going to pay you right now,” Father said. He walked over to where we children were sitting on the bench and took my straw hat off my lap and began filling it up with centavo pieces that he took out of his pockets. He went to Mother, who added a fistful of silver coins. My brothers threw in their small change. “May I walk to the room across the hall and stay there for a few minutes, Judge?” Father said. “As you wish.” “Thank you,” father said. He strode into the other room with the hat in his hands. It was almost full of coins. The doors of both rooms were wide open. “Are you ready?” Father called. “Proceed.” The judge said. The sweet tinkle of the coins carried beautifully in the courtroom. The spectators turned their faces toward the sound with wonder. Father came back and stood before the complaint. “Did you hear it?” he asked. “Hear what?” the man asked. “The spirit of the money when I shook this hat?” he asked. “Yes.” “Then you are paid,” Father said. The rich man opened his mouth to speak and fell to the floor without a sound. The lawyer rushed to his aid. The judge pounded his gravel. “Case dismissed.” He said. Father strutted around the courtroom the judge even came down from his high chair to shake hands with him. “By the way,” he whispered, “I had an uncle who died laughing.” “You like to hear my family laugh, Judge?” Father asked? “Why not?” “Did you hear that children?” father said. My sisters started it. The rest of us followed them soon the spectators were laughing with us, holding their bellies and bending over the chairs. And the laughter of the judge was the loudest of all.

60. My Father Goes To Court: an Analysis using Formalist Approach Setting: Small Town in the island of Luzon Characters: Narrator Poor Man’s Children Poor Father Rich Man Rich Man’s Children Policeman Judge The Lawyer of the Rich Man

61. My Father Goes To Court: an Analysis using Formalist Approach Setting: Small Town in the island of Luzon Characters: Narrator Poor Man’s Children Poor Father Rich Man Rich Man’s Children Policeman Judge The Lawyer of the Rich Man

62. My Father Goes To Court: an Analysis using Formalist Approach Setting: Small Town in the island of Luzon Characters: Narrator Poor Man’s Children Poor Father Rich Man Rich Man’s Children Policeman Judge The Lawyer of the Rich Man PLOT: LINEAR PLOT

63. EXPOSITION There was a young narrator describing his family who lived in a town with a rich neighbor. This family's children often goes out to play along with each other and always find themselves laughing while the rich man's children are always kept inside the house. The family often hang and stand beside the rich man's window to see whatever they are up to. They always unintentionally smell the rich aroma of those foods their neighbor's maids are cooking.

64. RISING ACTION As time went on, the rich man's children became thin and anemic, while the young narrator's family grew even more robust and full of life. Their faces were bright and rosy while the others were pale and sad. Soon, the rich man started to cough, and his wife began too. Then their children started to cough, one after the other. Until one day, the rich man suddenly closed their windows after seeing the young narrator's siblings; healthy and full of life.

65. CLIMAX One morning a policeman from the presidencia came to the young narrator's house. The rich man had filed a complaint against them stating that they've been stealing the spirit of their wealth and food. The day came for the two families to face the trial in the court. The rich man had a lawyer while the young narrator's father stood by his decision to not hire any.

66. FALLING ACTION The trial began by the rich man's lawyer started to ask annoying questions to the father. After answering, the father requested to bring the complainant's children to the stand and began to ask almost the same questions he answered. After being somehow proven guilty by the lawyer and the rich man's children, the father agreed to pay the crime they committed.

67. RESOLUTION The father agreed to pay the crime they committed. He walked over to where his children were sitting and took his straw hat and began filling it up with centavo pieces. With the permission from the judge, he strode into the other room with the hat full of coins in his hand while the doors of both rooms were wide open. The sweet tinkle of the coins carried beautifully in the courtroom. All the people heard the sound. He talked to the rich man and said: "That's the spirit of money, you are paid". The rich man fell to the floor as the father stands the case to be dismissed

68. LANGUAGE AND STYLE The story is written in First Person Point of View Straightforward dialogue Descriptive language Our faces were bright and rosy , but theirs were pale and sad .

69. LITERARY DEVICES IMAGERY - The author uses vivid descriptions to create mental images for a reader. “Now, this rich man’s servants were always frying and cooking something good, and the aroma of the food was wafted down to us form the windows of the big house . We hung about and took all the wonderful smells of the food into our beings. Sometimes, in the morning, our whole family stood outside the windows of the rich man’s house and listened to the musical sizzling of thick strips of bacon or ham .”

70. LITERARY DEVICES Irony -there is irony in the fact that while the rich man’s family has access to abundant food, they become sickly, while the narrator’s family, despite their poverty, remains healthy and robust. “As time went on, the rich man’s children became thin and anaemic , while we grew even more robust and full of life . Our faces were bright and rosy, but theirs were pale and sad. The rich man started to cough at night; then he coughed day and night. His wife began coughing too. Then the children started to cough, one after the other.”

71. LITERARY DEVICES SIMILE- the comparison of the narrator’s brothers’ arms and legs to the molave tree. “He looked at my sisters, who had grown fat in laughing, then at my brothers, whose arms and legs were like the molave , which is the sturdiest tree in the Philippines.”

72. SYMBOLISM The Closed Windows- symbolizes the barrier between the wealthy elite and the less privileged. The Aroma of Food- symbolizes the stark contrast in the living conditions of the rich family and the poor family. The Health Contrast- The difference in the health and vitality of the narrator’s family compared to the rich man’s family symbolizes the consequences of privilege and isolation. The Straw Hat Filled with Coins- represents the idea that money can be a means of control and that the poor can find clever ways to assert themselves.

73. SYMBOLISM The Closed Windows- symbolizes the barrier between the wealthy elite and the less privileged. The Aroma of Food- symbolizes the stark contrast in the living conditions of the rich family and the poor family. The Health Contrast- The difference in the health and vitality of the narrator’s family compared to the rich man’s family symbolizes the consequences of privilege and isolation. The Straw Hat Filled with Coins- represents the idea that money can be a means of control and that the poor can find clever ways to assert themselves.

74. Central Themes & Messages Conveyed Social Class and Privilege Innocence and Joy Justice and Fairness

75. Central Themes & Messages Conveyed Social Class and Privilege Innocence and Joy Justice and Fairness

76. Overall, the story uses these literary elements and devices to highlight the consequences of privilege and isolation while emphasizing the value of simplicity, innocence, and shared laughter. The ironic resolution adds depth to the narrative, leaving readers with much to contemplate regarding the nature of wealth and happiness.

77. THE WEDDING DANCE BY: Amador Daguio

78. The story revolves around a couple, Awiyao and Lumnay , who belong to the Cordillera tribe. They have been married for seven years but have not been able to have children. In their culture, having children is of great importance as it ensures the continuation of their lineage. Awiyao , the husband, is expected to marry another woman who can bear him children since Lumnay has not been able to do so. This is a customary practice among their people, and Awiyao's decision to marry another woman is a difficult and painful one. Despite the cultural pressure, Awiyao still loves Lumnay deeply. Lumnay is devastated by the prospect of her husband marrying another woman. She loves Awiyao , and their marriage has been filled with love and companionship. She desperately clings to the hope that Awiyao will choose her over the new bride, but she also understands the importance of following tradition.

79. The story climaxes during the traditional wedding dance ceremony, where men and women from the village participate. The dancing symbolizes the opportunity for men to choose their new wives. Lumnay joins the dance, hoping that Awiyao will come to her, but he dances with another woman. The story ends with Lumnay's realization that she has lost Awiyao to another woman, and she watches as he leaves with his new bride. Despite her deep love for him, Lumnay understands the cultural significance of bearing children and follows the customs of their tribe, even though it means sacrificing her own happiness.

80. Setting The story is set in a remote village in the Cordillera mountains of the Philippines. Characters Awiyao : The protagonist and husband in the story, whose internal conflict drives the plot. Lumnay : Awiyao's wife, who represents the emotional and sacrificial aspect of the story. Madulimay : The woman Awiyao is expected to marry, symbolizing the cultural and traditional pressures on the characters. Conflict Internal Conflict: Awiyao's internal conflict is a key driver of the story. He loves Lumnay but feels compelled to marry another woman to fulfill the cultural expectation of having children. External Conflict: The external conflict arises from the clash between individual desires and cultural norms. Lumnay's emotional turmoil and Awiyao's dilemma reflect this conflict. Theme The story addresses several themes, including the conflict between tradition and personal desires, sacrifice, love, and the consequences of adhering to cultural norms.

81. Setting The story is set in a remote village in the Cordillera mountains of the Philippines. Characters Awiyao : The protagonist and husband in the story, whose internal conflict drives the plot. He is a strong and capable man who is deeply in love with his wife, Lumnay . However, he faces a difficult internal conflict because his marriage to Lumnay has not produced any children, and according to their cultural traditions, this is a crucial aspect of their union. Lumnay is Awiyao's wife and the central female character in the story. She is deeply in love with Awiyao and is devastated by the prospect of him marrying another woman. Lumnay represents the emotional and sacrificial aspect of the story. Madulimay is the third main character in the story. She is the woman Awiyao is expected to marry to fulfill the cultural expectation of having children.

82. The Cultural and Anthropological Perspective Approach, often used in literary analysis and cultural studies, focuses on understanding a work of literature in its cultural and social context. Through an anthropological lens, the Cordillera culture portrayed in the story reflects the importance of community, lineage, and continuity. The central conflict revolves around the Cordillera practice of a husband taking another wife if the current one cannot bear children. This practice is rooted in the cultural imperative to ensure the perpetuation of the family and tribe. Anthropologically, this reflects the role of kinship and reproduction as crucial components of social stability in indigenous cultures.

83. The wedding dance itself serves as an anthropological representation of the cultural dynamics at play. It illustrates how communal rituals and ceremonies reinforce and perpetuate established norms. The dance is not merely a celebration but a symbolic representation of societal expectations and the role of each individual within the community.

84. The wedding dance itself serves as a powerful symbol within the story. It symbolizes the cultural traditions and rituals that bind the Cordillera community together. In the context of the dance, the selection of new spouses symbolizes the perpetuation of these customs and the importance of procreation in their society. The dance is not just a festive event but a microcosm of the characters' lives, representing the tension between individual desires and communal expectations. It highlights how cultural traditions can dictate significant life choices, such as marriage, and how these choices can be fraught with emotional conflict.

85. Lumnay's participation in the dance represents her acceptance of her role within this cultural framework. She symbolizes the sacrificial aspect of tradition, as she must reconcile her personal love for Awiyao with the societal pressure to allow him to marry another woman. Lumnay , in this sense, becomes a symbol of the conflict between love and duty, self and community, as she navigates the emotional turmoil caused by the customs of her people.

86. The mountainous landscape that surrounds the characters also carries symbolic weight. The mountains symbolize the unyielding nature of tradition and the rugged terrain of life in the Cordillera region. Just as the characters are rooted in their cultural heritage, the mountains represent the enduring strength of these customs, which have persisted for generations despite the challenges and hardships they may bring.

87. HOW MY BROTHER LEON BROUGHT HOME A WIFE MANUEL E. ARGUILLA

88.                                  SUMMARY           Leon and his wife Maria are about to return to Leon's village after getting married. They had met in the city and Maria has never lived in a village. They are greeted by Baldo, Leon's younger sibling as their horse carriage stops outside. Baldo welcomes the new member of the family. He is impressed by her beauty and soft feature. He observes her nice fragrance and radiant smile. He ties their bull, Labang to the cart and Leon hauls their trunk.           Baldo encourages Maria to touch Labang's hair and horns. She is awestruck at Labang's strength and horns. Leon helps her on the cart and she sits on a bale of husk. They start their journey and Leon has the reins. After going to a little further ,Baldo takes the reins and takes a sudden route change into the rocky road of Waig and surrounding fields. Leon enquires about the change of route and Baldo assures him that he is only following their father's orders.          

89.                                  SUMMARY                     Baldo and Leon both question Maria about her views about their village, fields and rocky roads. She is captivated by the natural beauty and simple lifestyle. She condemns the sheer number of vehicles and noise of the city. She loves the starry and clear skies over the lush fields. She and Leon even start to sing a song that Leon was taught by his father about the sowed fields under the clear skies. They meet a couple of people after coming out of the fields but not as many as most people avoid using the fields after dark.          They finally reach their house and are welcomed by Leon's mother and sister. They are smiling and excited. Leon enquires about his father who is in his room struggling with leg pain(injured in the revolution). Baldo goes to tie Labang and  finds Maria talking and crying with his mother and sister. He hears his father's call and goes to meet him.  His father questions  Maria's conduct and her behavior throughout their journey to the house.           It was a test designed to see if she could adjust and accept the life of the village and make it her home. Baldo reassures him about her life for Leon and commitment to their marriage. He confirms his observation that Maria was ready to embrace their house as her home. Their conversation is disturbed as the new couple enters to meet with their father. Baldo leaves the room giving them some space with the head of the family.

90. PLOT OF THE STORY -HOW THE STORY HAPPEN FROM BEGINNING TO END?

91. THEME OF THE STORY What is the moral can be derived from the story?

92. It is a wonder on a fine day like this With the sun spilled on the hard stained planks of walls, The wind following, the birds singing and singing, We pick up broken pieces and are poor,

93. Though nothing had changed our lean and hardwood house. We can still bear our faces on the cracked glass And be glad that our is personal, be glad The bed is in one corner, the table nailed in place.

94. No special feast lies on the breakfast table; It is rice and fish and coffee steaming and steaming, There is no wine but a China jug of water Will do to make us relish appetite.

95. Everything is spare and useful to keep alive Talk– such as the rough-grained texture of table, The stove burning, the floorboards creaking and creaking, Familiarity still fails to blunt our senses.

96. Somewhere rich relations are flattening and flattening Our surplus, yet ours is the nearer country of plenty As your full breast tames that babe’s loud hunger and Your thighs conceive of islands green with legend.

97. This lot may not be worth a curse. All is Within reach of want as long as love is able. The sunhammered tree outside our crooked window Manages some leaves in a dry season.

98. “Song for a Dry Season” Marxist Theory

99. Marxist Literary Criticism An approach to diagnosing political and social problems in terms of the struggles between members of different socio-economic classes.

100. 1. Economic Inequality The poem begins with a stark contrast between the fine day and the impoverished condition of the speaker’s house.

101. 2. Working-Class Struggles The speaker describes their humble dwelling, emphasizing the practicality of its furnishings, such as the bed and table nailed in place.

102. 3. Exploitation The mention of “rich relations” flattening the surplus of the speaker’s family suggests a Marxist critique of exploitation by the wealthier class.

103. 4. Love and Family Despite their economic hardships, the poem highlights the power of love and family.

104. 5. Hope Amidst Adversity The sunhammered tree managing to produce leaves in a dry season can be seen as a symbol of hope or resilience amidst adversity.

105. “Song for a Dry Season” Marxist lens Economic inequality Exploitation Endurance of the working class in the face of hardships Emphasizing the importance of love and family bonds.

106. “The Filipino is worth dying for” Benigno S. Aquino A

107. 1. Known as the father of psychoanalysis ?

108. 1. Known as the father of psychoanalysis a. Sigmund freud B . Jean-Paul Sartre c. Stanley fish d. Edward said

109. 1. Known as the father of psychoanalysis a. Sigmund freud B . Jean-Paul Sartre c. Stanley fish d. Edward said

110. 2. Known as a leading figure in reader-response theory ?

111. 2. Known as a leading figure in reader-response theory a. Michel foucault B . Jean-Paul Sartre c. Stanley fish d. Edward said

112. 2. Known as a leading figure in reader-response theory a. Michel foucault B . Jean-Paul Sartre c. Stanley fish d. Edward said

113. 3. Known as a French philosopher, social theorist, and historian ?

114. 3. Known as a French philosopher, social theorist, and historian a. Michel foucault B . Jean-Paul Sartre c. Harold bloom d. Edward said

115. 3. Known as a French philosopher, social theorist, and historian a. Michel foucault B . Jean-Paul Sartre c. Harold bloom d. Edward said

116. 4. His famous work is “orientalism”, a cultural treorist ?

117. 4. His famous work is “orientalism”, a cultural treorist a. Terry eagleton B . Jean-Paul Sartre c. Harold bloom d. Edward said

118. 4. His famous work is “orientalism”, a cultural treorist a. Terry eagleton B . Jean-Paul Sartre c. Harold bloom d. Edward said

119. 5. Known as a French existentialist philosopher ?

120. 5. Known as a French existentialist philosopher a. Terry eagleton B . Jean-Paul Sartre c. Harold bloom d. Jacques derrida

121. 5. Known as a French existentialist philosopher a. Terry eagleton B . Jean-Paul Sartre c. Harold bloom d. Jacques derrida

122. “The Filipino is worth dying for” Benigno S. Aquino

123. OUR HISTORY Benigno S. Aquino wrote this essay on August 4, 1980, during his eight years of imprisonment under Martial Law in the Philippines. It reflects his deep reflections on the nature of freedom, the Filipino identity, and the struggle against tyranny. The essay serves as a personal testament to his experiences and a rallying cry for his countrymen to reclaim their rights. Introduction

124. 3 Key themes Courage and Suffering Theme 1 Value of Freedom Theme 2 Democracy and Leadership Theme 3

125. Aquino delves into his own suffering, portraying it as a transformative experience. He notes how enduring humiliation, hunger, and anxiety has shaped his understanding of true courage. Rather than fostering bitterness, his suffering has led him to recognize the nobility of enduring hardship for a noble cause—liberating his fellow Filipinos. Courage and Suffering “During those eight years, I learned the true meaning of humiliation, of courage, of hunger and endless anxiety. Rather than be bitter I have learned to accept my suffering as a cleansing process and a rare opportunity to really grapple with the problems of the Filipino.”

126. Throughout the essay, Aquino emphasizes that Filipinos inherently value life and human dignity. He argues that while some may seem comfortable under authoritarian rule, this does not reflect cowardice but rather a deeper appreciation for peace and order. Aquino believes that the patience of the Filipino people should not be mistaken for submissiveness; instead, it is a testament to their enduring hope for a better future. Value of Freedom “But this is only a superficial impression because deep down in his being, he loves freedom but puts the highest premium on human life and human dignity. Hence, he would try to adapt till his patience runs out.”

127. Aquino makes a compelling case that Filipinos are prepared for democratic governance. He cites historical examples, such as the barangay system, where participatory democracy existed long before colonial powers arrived. He insists that with the right leadership, Filipinos can harness their potential and achieve great things. Democracy and Leadership “Is the Filipino prepared for democracy? Definitely. Even before the arrival of the Spanish Conquistador, he had already practiced participatory democracy in his barangay.”

128. overview Aquino’s essay strikes a balance between introspection and a call to action. He carefully examines the virtues and faults of his fellow countrymen. His reflections on leadership underscore the importance of good governance.

129. overview The tone of the essay is both urgent and hopeful. Aquino’s words serve as a direct challenge to President Marcos, imploring him to restore democracy. He articulates a vision of a united Filipino people who, despite their suffering, have the potential to rise against oppression.

130. Literary theories HISTORICAL AND CULTURAL 1 PSYCHOLOGICAL 2 POST-COLONIAL 3 READER-RESPONSE 4 EXISTENTIALISM 5

131. Historical and cultural This approach examines the text within its historical context, particularly the political climate of the Philippines during Martial Law under Ferdinand Marcos. "I have waited patiently for you to restore the democracy you took away from us on that night of September 21, 1972.“ Michel Foucault – power and history greatly influenced cultural criticism.

132. psychological The author’s introspection reveals his internal conflicts, motivations, and resilience. "Rather than be bitter I have learned to accept my suffering as a cleansing process and a rare opportunity to really grapple with the problems of the Filipino.“ Sigmund Freud – the unconscious mind, repression, and desire greatly influenced psychological criticism.

133. POST-COLONIAL This approach focuses on the effects of colonialism and the struggle for identity in formerly colonized nations. "Is he not a coward who would readily yield to any colonizer, be he foreign or home-grown?“ Edward Said – Orientalism is foundational in post-colonial studies, critiquing how the West constructed the East as "other."

134. READER-RESPONSE The author’s personal reflections and emotional experiences invite readers to engage with the material, fostering a sense of empathy and connection. "I have asked myself many times: Is the Filipino worth suffering, or even dying, for?“ Stanley Fish – meaning is created in the interaction between reader and text.

135. EXISTENTIALISM The existentialist lens can be applied to the author's reflections on suffering, freedom, and the search for meaning in life amid oppression. "I have chosen to suffer long years of solitary confinement rather than urge my followers to put our country to the torch because, like the average Filipino, I put the highest value on human life.“ Jean-Paul Sartre –emphasized themes of freedom, responsibility, and "existence precedes essence."

136. CONCLUSION In conclusion, "The Filipino is Worth Dying For" remains a pivotal work in Philippine history. Aquino’s assertion that the Filipino is worth dying for is not just a personal conviction; it is a profound declaration of hope for the nation. His reflections encourage a sense of unity and resilience among Filipinos, reminding them of their intrinsic value and potential. The essay continues to inspire movements for justice and human rights, serving as a timeless reminder of the ongoing struggle for freedom.

137. References Aquino, B. S. (1980, August 4). The Filipino is worth dying for . Asian Journal. Literature Report on "The Filipino is Worth Dying For" by Benigno S. Aquino. ( n.d. ). Fish, S. (1980). Is There a Text in This Class? The Authority of Interpretive Communities . Harvard University Press. Foucault, M. (1978). The History of Sexuality, Vol. 1: An Introduction (R. Hurley, Trans.). Pantheon Books. Freud, S. (1955). The Unconscious . In J. Strachey (Ed. & Trans.), The Standard Edition of the Complete Psychological Works of Sigmund Freud (Vol. 14, pp. 159–215). Hogarth Press. (Original work published 1915 Sartre, J.-P. (1943). Being and Nothingness: An Essay on Phenomenological Ontology (H. E. Barnes, Trans.). Philosophical Library. Said, E. W. (1978). Orientalism . Pantheon Books.

138. Letter to Pedro, U.S Citizen, Also Called Pete

139. Pete, old friend, there isn’t really much change in our hometown since you left.

140. This morning I couldn’t find anymore the grave of Simeona , the cat we buried at the foot of Miguel’s mango tree, when we were grade four, after she was hit by a truck while crossing the street. The bulldozer has messed it up while making the feeder road into the mountains to reach the hearts of the farmers. The farmers come down every Sunday to sell their agony and their sweat for a few pesos, lose in the cockpit or get drunk on the way home.

141. A steel bridge named after the congressman’s wife now spans the gray river where Tasyo , the old goat, had split the skin of our young lizards to make us a man years ago. The long blue hills where we use to shoot birds with slingshot or spend the summer afternoons we loved so much doing nothing in the tall grass have been bought by the mayor’s son. Now there’s barbed wire fence about them, the birds have gone away. The mayor owns a big sugar plantation, three new cars, and a mansion with the gate overhung with sampaguita. Inside the gate are guys who carry a rifle and a pistol.

142. We still go to Konga’s store for rice, and sardines and sugar and nails for the coffin. Still only a handful go to Mass on Sundays. In the church the men talk, sleep, the children play. The priest is sad. Last night the storm came and blew away the cornflowers. The cornfield are full of cries. Your cousin, Julia has just become a whore. She liked good clothes, good food, big money. That’s why she became a whore. Now our hometown has seven whores.

143. Peter old friend, every time we have good reason to get drunk and be carried home in a wheelbarrow, we always remember you. Oh we miss both Pete and Pedro. Remember us to your American wife, your lucky bastard, Islaw , your cock-eyed uncle, now calls himself Stanley after he began wearing clothes you sent him last Christmas. P.S. Tasyo , the old goat, sends your lizard his warmest congratulations.

144. Analysis The persona of the poem talked about some of the socio-political problems: The alteration of simple and beautiful life among townsfolks because modernization. The destruction of the forests to create roads and how this modernization affected the farmers. The bad vices that the farmers were slaves to. The unpleasant behavior of the people in the church including women who became more acquisitive. The corrupt practices among politicians.

145. Synthesis The story was created as a metaphor for the entire Filipino race in the character of Pepe who could fight. Through this, he wants to help the people by opening their eyes from their false consciousness.

146. Synthesis The novel also has a great insights about the daily lives of Filipinos during those times where Phil. Is beginning to rise It reflects the heart of Filipino mind and soul .

147. Lessons Importance of education Importance of fidelity and honesty Obeying parents and taking responsibility seriously Utilitarianism –unity

148. José Garcia Villa’s "Footnote to Youth"

149. Summary Footnote to the Youth The story revolves around Dodong a young man Who marries early, driven by the excitement of youth. ⚬ After marrying Teang, Dodong quickly realizes the harsh realities of adulthood, particularly the burdens of marriage and parenthood. ⚬ As the years pass, Dodong reflects on his early decision when his own son contemplates marriage at a similarly young age.

150. Major Characters: Dodong – The protagonist who rushes into marriage. Teang – Dodong’s wife, who also experiences the struggles of early marriage. Blas – Dodong’s son, who mirrors his father’s youthful desires. Setting: ⚬ Rural Philippines, emphasizing the simplicity and challenges of provincial life.

151. Themes and Literary Analysis 1. The Impulsiveness of the Youth: tendency to rush into major life decisions without fully understanding the consequences. The contrast between youthful dreams and the reality of adult responsibilities 2. The Cyclical Nature of Life: ⚬ The story suggests that the mistakes of one generation are often repeated by the next. ⚬ Dodong sees his youthful errors mirrored in his son’s desire to marry young.

152. Themes and Literary Analysis 3.Burden of Responsibility marriage and parenthood are presented as heavy responsibilities that require maturity. The story critiques societal pressures on young individuals to conform to traditional expectations 4. Regret and Reflection: Dodong’s regret highlights the consequences of impulsive decisions. Reflection on how decisions made in youth shape one’s future.

153. Themes and Literary Analysis Conflict between personal desire and duty Dodong’s inner struggle as he grapples with his desires versus the obligations of marriage and fatherhood.

154. Writing Style and Technique and Tone: ⚬ Simple, direct language reflecting the rural setting and everyday life of the characters. ⚬ A reflective tone, with moments of introspection from Dodong, adding depth to the narrative.

155. Symbolism: ⚬ The footnote itself symbolizes the often- overlooked details or consequences of major life decisions. ⚬ Nature elements (e.g., the star, moon, field) symbolize the passage of time and the constancy of life's struggles.

156. impulsiveness of youth. ⚬ It continues to be a relevant narrative in discussions about youth, maturity, and generational cycles. Legacy of "Footnote to Youth Foot n : o t e to Youth" remains a powerful commentary on the challenges of early marriage and the

157. Thank You