Recaredo Castillo College

Purok 2, Gamaon District, Mangagoy, Bislig City

Tell No.: 853-1152

st.
C entury L iterature
from the Philippines and the World
Learning Module
Prelims

Prepared by:
 1
Lesson
Traditions and Location:
the Filipino Poem
This lesson examines the elements of poetry by looking at an example of
Filipino regional poetry.

By the end of the lesson, you will have been able to

 Identify the geographic, linguistic and ethnic dimensions of Philippine literary

history from pre-colonial to modern.
 Appreciate the application of imagery in the text provided, paying particular
attention to the regional origins of the poem.
 Respond critically to the poem and articulate this response through a presentation
that showcases regional culture.

View
An erupting volcano can be both terrifying and beautiful. The sheer, raw power of the explosive force of the
volcano can shake the earth and devastate its surroundings, and yet the same event can be a wonder to see. Experiences
such as these are called sublime experiences by artists, and it is these experiences that move them to create art. Poets
react to such experiences by participating in the literary tradition that has been termed by poet and critic Gemino Abad
as “the root and crown of language”.

Poetry, and its product, poems, as defined by the Meriame-Webster dictionary, are pieces “of writing that usually
have figurative language and that written in separate lines that often have a repeated rhythm and sometimes ryme.” In
many ways, poetry is almost as old as human language itself. It can trace itself back to a time before the written word,
where it was often sung rather than spoken.

A Long History of Poetry

Filipinos are no strangers to poetry; it has been part of Filipino culture ever since pre-Hispanic time.
 Awit or Song: existed in many forms and were used for varied purposes
 Uyayi or Lullaby: soothing song, usually sung to young children before they go to sleep
 Soliranin: songs for traveler
 Kumintang: song for war
 Malumay: song for collective labor
 Kuniman: a song of melancholy love
 Pamamanhikan: a song of the groom to his bride as he asks for her hand in marriage
 Bugtong or Riddle: used talinghaga, or a metaphor that actually helped convey the answer to the riddle
 Sawikain or Proverb: were used to express pieces of wisdom or beliefs that were important to Filipino society
 Epiko or Epic: these were long, episodic, chanted poems which told a story, normally about a legendary hero and
his adventures, and also bening aided by supernatural creatures and spirits
 Baybayin: are method of writing for the Tagalog
 Pasyon or Passion of Christ: epic narrative of the life of Jesus Christ, focused on his Passion, Death, and
Resurrection, first popularized by Gaspar Aquino de Belen and perpetrated by Mariano Pilapil
 Francisco Baltazar: the most notable poet of the Spanish era, who became known as Balagtas. One of his famous
work is the Florante at Laura, a poem about tyranny happening in the Philippines at the time
 Andres Bonifacio: the author of the poem “Pag-ibig sa Tinubuang Bayan”

Despite the efforts of the Spanish clergy, traditional Philippine poetry never truly went away. Instead, these same
tradition evolved. The awit, for example, became influential by the European romances of the time, and became romantic
themselves. By the end of the Philippine revolution, Philippine poetry gained some of the influences and styles of their
colonizers, but was also been able to remain unique from the poetry of the Spaniards.

The arrival of the Americans, and their introduction of a new educational system, again set off a series of changes
of the Philippine poetry. The use of English as a medium of education brought with it the poetry in that language. Filipinos
learned not anly the language, but poetic styles as well. Free Verse and New Criticism became the buzzwords of poets.
Poets such as Angela Manalang Gloria and Jose Garcia Villa pushed the envelopes of both form and sontent, challenging
established conventions.

Writer Salvador P. Lopez was also seen as very influential in developing a new concern for writers and poets
that went beyond the typical romantic themes still popular during those times. His focus on making writers examine their
place in society, influenced writers from his time to today.

Poetry Has Continued to evolve in the face of the changes is face in the history. The freedom to explore a myriad
of forms resulted in a broad selection of poems written not only in English and Filipino, but also in the various language
of our many regions.

Region and Regional Culture

The Philippines has a unique cultural landscape, one shaped by a myriad of languages and traditions determined
by their geographical and linguistic regions. It isn’t quite right to say that there is just one Filipino culture, because there
so many different cultures in the country, and they are all considered to be Filipino. These many regional cultures,
however, do all come together to create the colorful tapestry that we call Filipino culture.

 Bienvenido Lumbera: a national artist that discussed that the reason for a very Manilacentric view of the
Philippines culture and cultural development has to do with the fact that Manila remains the center of the power
in the Philippines.

The exploration into Philippine literature, therefore, will be a de-centered on, exploring regional writing to see not
only how it differs from what is normally seen in Manila, but also how it contributes to the Philippine culture through its
unique voice and style.

Bikol Literature
It is both to the advantage and detriment of Bikolanos that a good number of them are multilingual and are
normally prociently not only in Bikol, their regional language, but also in English and Filipino. Prominent writers such as
screenwriter Ricky Lee and poet Marne Kilates are both native of Bikol, and yet are not known as Bikolano writers. It is
also sad that there are very few pre-Hispanic Bikol works that have been collected and published. What has been left
behind, however, are some forms which still exist today.

There are still the proverbs, riddles, and sayings that have remained in use, such as “An matakot sa doron/Daing
aanihon” or “those afraid of locusts/Will not harvest anything”. There is also the tradition of tigsikan, or a game of creating
witty, versified (in verse) extemporaneous toasts during a round of drinking.

Bikol writers have adopted form of literature for their enjoyment, however. There are many corridos and religious
works, coming from the press owned by Mariano Perfecto. These eventually led to the creation and enjoyment of other
forms of entrainment, such as the comedia and the zarzuela, in the 1800s and early 1900s. There are works in Bikol
during this time, as there were Bikol-based publications, and the production of poems and fiction grew. Literary production
continued via varied publication until the 1960s when the last Bikol magazine stopped production. Production then slowed,
but did not completely stop.

It has since proceeded slowly, but persistently, owing to the renewed interest of schools and writers who have
since embraced the task of building on their literary achievements and writing new work, such as the text we have for this
lesson.

Trackback
on Mayon Volcano

Mayon Volcano is renowned around the world for its nearly perfect shape. It is also one of the most active
volcanoes in the world and erupts regularly. Provinces near Mt. Mayon are already very accustomed to evacuating
periodically because of the eruption which occur. Despite the constant threat of danger, however, the volcano remains
one of the most popular tourist destinations in the Philippines.

Like many locations in the Philippines, Mt. Mayon has a fascinating legend which tells the story of its creation.
The legend of Daragang Magayon is a romantic and exciting story telling of how the volcano came to be. Research this
legend and prepare a short, five-minute skit reenacting certain scenes from the legend.
 Think about this questions:
o How do the characters in the legend correspond to the behavior of the volcano in the real life?
o What does knowing the legend do to your appreciation of the volcano?
o How would the legend of Daragang Mayon be told today? What changes would there be in how the story
is told?

PIT STOP:
MAYON MARKERS:
Cordero’s poem is a very rich one
carrying a very distinct view of Mayon
Kristian Sendon Cordero, Camarines Sur  IMAGE is the use of figurative language
Volcano. He, as a native of Bicol, writer to represent objects, events, actions, or
with a certain level of familiarity with the ideas in a way that is physically
volcano first via allusion, referring to its Ayon sa alamat, lason ng pana ni Pagtuga, appealing.
myth, particularly to Pagtiga’s arrow
which killed Magayon. The death of Ang lumikha sa bulkan – libingan ito  METER is the basic rhythmic structure
Magayon and her lover Panginoron in of a line in poetry.
the poem become more than just an Ng dalagang namatay sa isang digmaan.
end, but also a beginning.  EXPANSION refers to the possibility of
Ngayon, ano ang tutubo sa paanan ng Mayon images to go beyond what they
The poem proceeds from there, using
an image of death to imply possibility Gayong nagiging malawak na itong sementeryo normally mean, to extend, or grow in
meaning so that they are not merely
and life. Images play a very significant
role in this poem, as the volcano is
Ng abo, ng tao. Manganganak na kaya ito? literal but become figurative.

described in many different ways.

Images aren’t only visual; they can  FIGURATIVE LANGUAGE is when the
present their sensory impressions using
any of the five senses. These images
Tinitigan ko ang nakangangang bulkan – binalot word or phrases used go beyond their
literal meaning and convey a different
do more than just present sensory
impressions to the reader, however, but
Ng ulap at ng sariling usok ang tuktok, gatas sa labi. set of meaning to the reader.
go beyond that, expanding from being Baka sakali, magpakita, nang may silbi ang kamera.
merely descriptive to becoming
figurative. The images vary widely,
from having the lips of a young child in
the stanza, to having a lava of the Sa ilang retrato na ibinebenta ng mga bata sa Cagsawa
volcano look like excrement or having
the same image look like betel nut juice Lusaw na tae ang nagliliyab na lava, dumadaloy pababa.
(nganga) in the same stanza.
Matandang nag-nganganga ayon naman sa isang makata.
What becomes clear, by the last stanza,
is that all the image tie in together.
There is the impression of beauty and
danger, as the final image, that of a
Sa isang lumang postcard na nakita ko sa Antigo Merkado—
beautiful security guard waiting to frisk
the viewer of the volcano, becoming
Kapag sa malayo, isa siyang magandang
both warning and invitation at the same
time.
sikyung nakatanod, Handa sa pagkapkap,
naghihintay sa iyong pagpasok.

Navigate
Respond critically to the following questions and worksheets to process the selection.

1. According to the poem, what led to the creation of the volcano?

a. The arrow used by Pagtuga
b. A war which led to Magayon’s death
c. The poison of the arrow of Pagtuga
d. The legent of Daragang Magayon
2. In the second stanza, the area around Mayon’s foot is described as
a. A graveyard
b. A farm
c. A disaster zone
d. A myth
3. What is the persona in the poem waiting for in the third stanza?
a. For the volcano to erupt
b. For the volcano to show its peak
c. For the volcano to blow more smoke
d. For the volcano to be covered in clouds
4. List at least three images found in the poem. Cite the lines where they appear.
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5. State the dominant physical sense being used by the poem to create the images you listed in the previous
question.
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6. Examine the images in the poem and determine whether the impression being conveyed by the images is
positive or negative. List those images in the table below.
POSITIVE NEGATIVE
 7. The first stanza of the poem showcases the death of Magayon as the cause of the birth of the volcano. Carrying
this reasoning through to the second stanza, what is the persona implying with his use of the image of a
graveyard? Discuss this bellow.
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8. The fourth stanza presents an image of the poem which was viewed differently by two different people—the
persona and an unnamed poet, or makata—who gave a very different interpretation of the image. Defent the
choices of both poets in light of how Mt. Mayon seen in the poem.
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9. Discuss why author used a security guard as the final image of the poem. What does this seem to imply about
how security personnel are viewed?
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Synthesize
Define the terms below:

Image _________________________________________________________________________
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Allusion _________________________________________________________________________
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Figurative Language _________________________________________________________________________
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Meter _________________________________________________________________________
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Negative Capability _________________________________________________________________________
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Process
The power of images to convey meaning was used extensively in Cordero’s poem. Write a three to five paragraph
critique of the poem focusing on how the images in the poem present the experience of viewing Mount Mayon.
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 Speculate
If all you had as basis for knowing about Mount Mayon was the poem, would you want to visit it or not? Explain
your answer in at least two paragraphs.
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Set Out
To reflect on your learnings in this lesson, complete the following sentences:

1. My most important learning about the geographic and linguistic/ethnic sense of our country’s literature is:
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2. In looking at the poem, I saw Mayon Volcano as represent Bikol because:

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2 Lesson
Representation and the
Philippine Canon
This lesson recognizes the contributions of representative, or canonical,
texts to the development of the Philippine Literature

By the end of the lesson, you will have been able to

 Identify representative texts and authors from each region

 Appreciate the use of poetic devices such as dramatic situation in the development
of meaning in a poem
 Respond critically to the poem and consequently articulate this response through a
creative visualization of the poem

View
Oppression is a familiar word in the Filipino vocabulary. There have been many uses for this term, whether it
describes the oppression of the less privileged by the elite, or the oppression of gender by a patriarchal society. In a way,
Filipinos have always had to face oppression in some form or another, beginning with our own history of colonization.
Eventually, these colonizers would become conquerors and would prop up themselves at our expense.

Oppression, and the struggle against it, are common themes in Philippine Literature. Jose Rizal’s classic Noli Me
Tangere and El Filibusterismo were examples of early Filipino writing expressing itself against oppression. Hermenegildo
Flores’ “Hibik ng Pilipinas sa Inang Espanya” and Marcelo H. Del Pilar’s “Sagot ng Espanya sa Hibik ng Pilipinas” were
likewise literary expression of what were perceived to be abuses by the colonizing power.

Oppression as a topic would rise again and again in Philippine Literature. Aurelio Tolentino’s play, “Kahapon,
Ngayon, at Bukas”, was controversial during the early American period because of its sharp criticism of the US, particularly
in how their presence stymied the Philippine revolution. Jose Corazon “Batute” de Jesus wrote Sa Dakong Silangan,
Which was a re-telling of the history of the Philippines by way of allegory, presenting the US as conspiring with Spain to
fool the Philippines into subservience.

After independence, specter of oppression remained, and found a clear subject once more in the form of
President Ferdinand Marcos. Increasing protests against his regime would eventually lead to his declaration of Martial
Law, and the arrest and imprisonment of many writers in the country.

WHAT IS THE DRAMATIC SITUATION AND THE PERSONA?

Oppression has been seen in many instances in our history, and it is natural that our literature reflects our engagement
with this reality. In particular, our poets have used the subject of oppression as a beginning, creating dramatic situation
that lead us to a greater understanding of the issues at hand and how these affect our lives. Poems present these dramatic
situations via a speaker in the poem, or a persona. The persona in the poem is usually not the poet but is rather a
character in the poem who is involved in the dramatic situation, or the persona can be a character in the poem who is
involved in the dramatic situation, or the persona can be an observer who is watching the situation unfold. Cirilo Bautista’s
poem presents us with a situation that is allegorical, or not literal but rather representative of other ideas or personalities.
He also uses personification as a figure of speech, giving some non-human objects human qualities. It showcases both
his skill as a writer and the relevance that has led him to be hailed as a National Artist.

Trackback
The Marcos Dictatorship

The Marcos era was seen to be one of the most oppressive period in Philippine history, and yet, a quick glance
at the internet reveals a number of claims that this era was supposedly the best time in Philippines history.

For this activity, perform some investigative research. Look into actual historical data (from history books or
reputable websites) about the Marcos regime and compare these to the claims being made by certain parties on the
internet. Make a chart, citing at least 3 major claims made by these parties and compare them with the reults of your
research.
Examine the result and discuss the following question:
1. Can you identify instances of oppression which has happened in your life?
2. How do you feel about the facts that you’ve uncovered about the Marcos regime?
3. Why do you think so many people have such differing opinions on the regime?

THIRD WORLD GEOGRAPHY

Cirilo F. Bautista
MARKERS Manila
DRAMATIC SITUATION is A country without miracles
the combination of setting,
characters, and action in a poem
Sits heavy on the map,
which is supposed to be engaged Thinking of banana trees rotting
the reader. In the sunlight.
The man who watches over it
PERSONA is the speaker, or Has commandeered all hopes,
teller, of the poem; rarely the poet Placed then in a sack,
himself or herself And tied its loose end,
He goes around carrying it
ALLEGORICAL/
On his back.
ALLEGORY refers to symbolic
representations of truths or When asked what is inside,
generalizations about human He says, “Just a handful of feathers,
existence. Just a handful of feathers.”
That’s how light the burden
CANON refers to the collection of Of government is in peace time—
works determined by a society value Any tyrant can turn it into a metaphor.
and importance.
You kneel on the parched earth
PERSONIFIVCATION is a And pray for rice. Only the wind
figure of speech where a non- Hears your useless words.
human object is given human The country without miracles
qualities. Tries to get up from the page,
But the bold ink and sharp colors
Hold it down.

Navigate
Respond critically to the following questions and worksheets to process the selection.
1. The figure of speech used in the lines “A country without miracles sits heavy on the map, thinking of banana
trees rotting in the sunlight” is
a. Metaphor
b. Personification
c. Simile
d. Hyperbole

2. What has happened to hope in the poem, as described by the lines “the man who watches over is has
commandeered all hopes, placed them in a sack, and tied its loose end. He goes around carrying it on his
back.”
a. It has been killed
b. It has been conquered
c. It has been stolen
d. It has been silenced

3. What are the “feathers” discussed in the poem supposed to be a metaphor of?
a. The burden of government
b. The dashes hope of people
c. The feathers of dead birds
d. The poverty in the country

4. “you kneel on parched earth and pray for rice.” This implies that the people in the poem are?
a. Angry
b. Depressed
c. Hungry
d. Thirsty

5. The persona speaking in the poem is

a. A character in the poem
b. An unbiased observer
c. The author
d. The man who watches over the country

6. Modified true or false: the poem is written with a sarcastic tone. Explain your answer with lines from the poem.
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7. Describe the dramatic situation of the poem in no more than four sentences below.
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8. List the allegorical elements in the poem and what these could relate to.
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9. Discuss in no more than five sentences how Bautista uses the idea of weight in the poem and how it affects the
personalities in it.
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10. What could the act of “getting up” refer to in the final lines of the poem? Discuss in no more than five
sentences.
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 Synthesize
Complete the statements below.
1. The canon is a ___________________________________________________________________________.
2. A poem is allegorical when__________________________________________________________________.
3. Setting plays an important role in determining the________________________________________ of a poem.
4. While reading a poem, it is the voice of the ________________________ that we actually hear, not the poet’s.
5. ________________________________ is seen when things suddenly act like human beings.

Process
Discuss the realities of suffering that happen in a country faced with an oppressive ruler. In three to five paragraph
essay, relate the details and images in the poem and how it can relate to actual historical events in the country.
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Speculate
How can one fight oppression at home? Design a poster which details how people can combat small forms of
oppression, like bullying.
 Set Out
Complete the statement below as gauge of your learning.
1. I have realize that representative writers are seen as important because
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2. Poems need dramatic situation to develop their meaning because

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3. Our visual presentation led us to think about

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3 Lesson
Philippine Literature:
Writing in the Regions
This lesson examines the essay, and how its techniques, in response to a
particular context.

By the end of the lesson, you will have been able to

 Value the contributions of local writers to the development of regional literary

traditions.
 Identify how tone is related to literary style and how both help create a unique
meaning in the essay.
 Respond critically to the essay and consequently articulate this response through a
poster illustration of the aftermath of the Mt. Pinatubo eruption.

View
The eruption of Mt. Pinatubo in Pampanga was one of the most cataclysmic events in recent history. It has been
called the second largest volcanic eruption in the modern era. The eruption literally changed the landscape of central
Luzon; the current Subic-Clark-Tarlac Expressway (SCTEX) is built on top of the rooftops of houses and churches of
many former towns of Pampanga. Rivers were re-routed, dams built, and many Kapampangan people were faced with a
hometown that changed literal overnight.

Thousands were affected by the eruption and by the flows of lahar, which continued for years after. The effect of
the disaster went well beyond the immediate and the physical; it has affected people’s minds and sensibilities as well.
The disaster changed the lives of so many people, and in so doing, the context of these people were changed as well.
Context, defined by Merriam-Webster dictionary, is “the collection of interrelated conditions in which something exists or
occurs.” Context, therefore, is what is around us, which influences us just as we influence it. Writers have used context
to create various forms of written works such as poetry, fiction, drama, and essays. Where we are born and where we
grow up form part of our context; in the case of most Filipinos, their region also determines their context.

 ESSAY is a short piece of writing on a particular subject which can lead to the misconception that it is easy to
write. The essay can indeed be very pragmatic, or it can be more expressive. If done in a manner that tries to
elevate its form beyond just being “a short piece of writing,” then the essay becomes literary, something that is
related to literature.

WHO ARE REGIONAL WRITERS? WHAT ARE REGIONAL LITERATURE?

 John Jack Wigley the author of the “Home of the Ashfall”; very clear in their origins, and these origins are easily
seen in their work
 Pampango Literature where the writers are indeed strugglisng. Pampanga was the first province in Luzon to
be declared by the Spaniards, who quickly befriended the Kapampangan tribal chieftains and gave them political
and financial benefits. With the arrival of the Americans, who established military bases in the region, they again
embrace foreign influences
 Lino G. Dizon’s Pasyon Ding Talapagobra used the traditional pasyon but also used the vernacular to discuss
the injustices suffered by the working class farmers
 Lourdes Vidal discussed Kapampangan literature in Filipinos Writing: Philippines Literature From the
Regions, expressed pessimism that the region would be able to produce new work unless it sees new writers
step in with a clear notion of their own regionality and are able to speak with clear voices to contribute to the
country

WHO ARE REGIONAL WRITERS? WHAT ARE REGIONAL LITERATURE?

 Style already contains unique as part of its nature, since style can mean a unique way of expressing oneself.
Thus, an essay written in a particular style would make the essay different from the others.in an essay, creating
an individual style will mean that the writer would have to use his/her skills with writing and language to produce
a unique effect in the reader.
 Tone, or the attitude being conveyed by the language used by the writers, thus is an essential part of creating a
distinctive style. In writing, tone is also important in helping the writer convey meaning to the reader. Tone, then,
carries more than just feeling, but can direct a reader to meaning.
 Trackback
Remembering an Eruption
While the eruption of Mount Pinatubo occurred in the 1990s, many people still remember the event as awe
inspiring and terrifying. The volcano destroyed Clark Air Base, which was still occupied by the US military at the time. It
released so much ash into the atmosphere that global temperatures fell and weather patterns were altered.

Locate
Read the essay:

Home of the Ashfall

John Jack Wigley
Pampanga

The eruption of Mount Pinatubo was recorded as the second largest terrestrial eruption of the 20th century, and
the largest eruption populated area. Ash fall, which formed a weighty, rain‐drenched snow‐like film, affected almost the
entire island of Luzon, and even reached the neighbouring countries of Malaysia and Vietnam. It was further aggravated
because of Typhoon Yunya, which brought with it heavy rains and strong winds. To the Kampampagans and to the people
affected by this tragedy, it would serve as a testament to their irrepressible attribute of rising about their plight and
predicament.
I was no longer living in Angeles City when Mt. Pinatubo erupted on June 15, 1991. I was promoted from being
a crew member at Pizza Hut Dau to management trainee at Pizza Hut Harrison Plaza in December 1990. After being a
service crew member for more than four years and graduating from college in 1989, I had to say goodbye to my hometown
where I lived for more than two decades. It was my first time to work in manila. I asked the assistance of Ed Calupitan, a
fellow Pizza Hut Dau crew member now based in Manila, to help me find a place to stay. He was living in a two‐bedroom
apartment and gladly offered the other room to me.
Weeks before the eruption, I read several news and warnings about Mt. Piantubo. Frankly, I never knew that
there was a volcano in the Zambales mountain range. Nobody among my Kapampangan friends did. I guess we were all
clueless about the impending danger this would cause in our lives. Later on, I realized that the summit of the volcano
was just fourteen kilometres away from the extent of Clark Air Base. I thought that volcanoes were conspicuous mountains
and had fierce‐looking summits like Maycn’s and Haicon’s. But this one was deeply hidden among the several mountains
called the Cabusilan mountains” of Zambales. How a volcano had managed to hide among the mountains and be covered
with a defence forest was something I couldn’t comprehend. If it was bound to erupt, I guess it would be just like a
firecracker.
Hell, I thought that if there was a mountain near us which I imagined would erupt anytime, it would be the
Arayat, which was located at the heart of Pampanga, with its open mouth and forbidding countenance. Not this obscure
mountain whose native inhabitants, the Aetas, never even knew about, I paid no more attention to warnings.
I had only been in Manila for barely six months and was enjoying my new‐found independence. I would
sometimes go to Angeles City to see Mother during days off, which usually fell on a weekday, since management people
did not have the luxury of the day‐off during weekends because it was the time when more people would go out and eat.
Pizza Hut Harizon Plaza was a high volume unit.
That fateful day, after my opening shift, I went to see a film. I t was “Hihintayin Kita sa Langit”, a film adaction
of Bronte’s “Wuthering Heights” directed by Carlitos Siguion Reyna. The film starred erstwhile lovers played by Richard
Gomez and Dawn Zulueta. I was feeling all mushy and melodramatic after watching the film when, once outside, I saw
parked cars covered with what seemed like a whitish‐gray blanket. And so were the streets. Is it finally showing in Manila?
I thought, as I felt some of the particles in my hand and smudge my shirt. When I looked closely and touched them, they
were grainy. It was like ash from an ashtray.
I saw farther down the riverbank that people were lining up to cross the river by stepping on coconut trunks
and wooden poles attached from one end to the other. The gaunt shirtless boot who was juggling coins and walking to
and fro shouted. “Pesus mu. Deng bisang lumakad papunta Angeles, keni na kayo bang ali la mabasa deng bitis yu. For
one peso, take this trail and your feet wo’t get wet in the river”. I was about to fall in line but I realized that there as a
long queue of people already as far as the bend, waiting for their turn to get actions the river.
It would take me forever to get to other side if I fall in line, I thought. I talked to the person behind me. “Malalam
ya pu ing daanum. Is the water deep?”
“Tabalu. Bala mu, malalam pin. I dont know. It’s deep. I guess,” he immediately rejoined. “Lawen me itang tau
angga ne keng atyan na. Look at the guy crossing. The water’s up to his tummy,” he said, pointing to the man.
It was deep, I contemplated. I didn’t want to take the risk of getting my clothes wet. I was also thinking that
perhaps the water that flowed down the river was contaminated because of the volcanic ash and the sulphuric content of
the water.
Just I saw about four barkers holding wooden chairs, inviting people to cross the river on these chairs. They
explained that people would be sitting on the chair and thr barkers themselves would carry the chair to the other side for
a fee of ten pesos. Despite the horrible sight before me, I forced a smile I was thinking about how indestructible humans
are. These people were still struggling to live even if catastrophes like typhoons and volcanic eruptions had truck.
Catastrophes constantly plagued their lives. I felt deep admiration for them.
One barker thought my smile was an indication that I wanted to ride in the chair. “Bisa kang sake. Would you
like to take a ride?” he asked. I was meaning to say no but I was speechless, still talking everything in. Besides, I wanted
to see my family. I nodded my head.
“Koya, padagdag naku mu keka ne. Kasi lupa kang mabayat. I’ll charge you extra. You look heavy” the barker
smiled fully; revealing he had no teeth.
For a moment, I wanted to pull his hair and drown his head in the river. This impertinent one. I thought. He had
to subtly insult my chubby body. But I surmised that he meant well.
It was not going to be easy carrying me to the other side of the river. I just simply agreed. I sat on the chair
and put the bag on my lap. The barker clasped an improvised rope seatbelt from one and to the other. Yeah, like I would
experience a terrible accident by forgetting to use this seatbelt, I thought sarcastically.
 Just hold the chair’s handles, sir it’s good that you came this early. Potang gatganapun, ali tana makapunta
karin uling malalam ne ing danum. Later in the afternoon, we won’t be able to cross because of the deep water,” the
barker enthusiastically said. As he started lifting the chair, I felt that I was sliding down. The fabric of my pants was
slippery “Sagull, Kala‐kalale. Wait, carefull Mananabu ku! I’m falling,” I cried.
The barker haited for a second and adjusted me weight on his arms. I wiggle momentarily and after a while, I
instructed him to carry on. He looked at me and then smiled blissfully.
First, it was my body weight. Then I sensed that he was mocking me because he thought I was a sissy. I turned
back to the other barkers, and they were all carrying passengers, all of whom were women. One was carrying an older
woman with cane. I saw the men and they were braving the river. Oh dear, now all these barkers would regard me as
the only man in the Abacan river who did not want to get his feet wet. Why hadn’t I decided early on to just cross the
river? Now, I felt guilty that I had to subject this cadaver‐looking barker to such pain and suffering by carrying me, the
queen all of my 160‐pound royalty for a measly 15pesos. I shook my head of all this guilt away. Well, too bad, I thought
I had the money which you hadn’t, sorry. Even in ancient times, slaves laboriously carried their obese masters. History
repeats itself; I tried to reason out in my thoughts.
When we got to the middle of the river, I closed my eyes, not because I was afraid of the water, but because
I was worried that the barker wouldn’t be able to cross it, with me as his burden. The water was already knee‐deep. He
wasn’t even wearing any footwear. What if he slid done because he stepped on a rock or a hole under the water?
But he was very much focused. His steps were showing but cautious. I wanted to talk to him so that my mind
would be distracted from worrying, but I felt that he needed full concentration to get us through. I just held on the hand
rest of the chair.
I imagined that poor people have always exhibited their resilience this way. When calamities happen, they are
the first ones to suffer the initial blows. Yet, they survive and eventually thrive. They just need to go slow and sure. The
rich and the middle class are alienated from this kind of survival strategy. That is why much is lost in them when things
go down. But not the poor; they are like fungi. They don’t die. They morph after a catastrophe.
We got to the order end of the river. The barker found a coarse spot where he could put down the chair. He
was painting heavily, beads of sweat dripping from his temples. I thanked him and handed a twenty peso bill. He looked
grateful and smiled. I was waiting for him to utter an insulting remark so I could give him the sermon of the day. But he
didn’t.
“Dacal a salamat pu koya. Thank you. Pantunan mu naku potang bisa nakang mibalik keng sumangid. Hatad
daka. Just look for me when you want to cross the river going back. I’ll take you.” He said as he nooded his head
approvingly, once again showing his toothless mouth “Sige pu, salamat mu rin,” I replied.
There was hardly any roving jeepney at all when I climbed up the gully. Tricycles were waiting at the corner,
but I chose not to ride in one. I decided to walk. The house was only about five minutes away anyway.
As I was walking, I thought about what the future would hold for this city I loved. Kapampangans are known to
be a proud people. I only wished that they would get past all this soon. I was hoping that I would also see my family
complete and in the best of health. My steps got quicker. I started to run.
At the threshold of the house, I saw Mother carrying a bundle of laundry. When she saw me, she smiled and
patted my arm.
I was puzzled to see her carrying a load. “Where are you going? I just got here. I was so worried about you.
Where is ate and her family, are they okay?” I asked.
Mother placed the bundle on the table and tightened it. “They’re all okay, thank God. I’m going to Dau to give
this to your ate.”
“What, are you serious?” I was shocked by Mother’s retort. “The Abacan Bridge has collapsed, didn’t you
know? How are you going to get to Dau?”
“I know that the Abacan Bridge is no more,” Mother said pensively. “I’ve been to Dau and back twice already.
There are still barkers that lift chairs down there in the river, aren’t there?” she looked at me.
I was aghast to hear this from her. “You mean you want to go down the river? You are not afraid?”
“Why should I be afraid?” Mother interrupted. “Only the old ones are afraid to cross the river. I am not that old.
Besides, you’re here to keep me company, right? I’ll cook your favourite ginataang kamansi.”
I was dumbfounded. Mother was unbelievable.
“Hurry up! The river gets deeper in the afternoon,” Mother shouted “Let’s go.”

Navigate
Respond critically to the following questions and worksheets to process the selection.

1. The author is the native of

a. Metro Manila
b. Dau, Pampanga
c. San Fernando, Pampanga
d. Angeles, Pampanga
2. The author thought that the volcano that would most likely erupt would be
a. Mayon
b. Halcon
c. Pinatubo
d. Arayat
3. The author was, initially, ___________ at the sight of the white-covered surroundings
a. Scared
b. Overjoyed
c. Curious
d. Angry
4. At the river, the author’s legs shook because
a. He was tired from the trip
b. He was thrilled to be home
c. He was saddened by the appearance of the town
d. He was shocked at the devastation
5. The author felt embarrassed at being carried because
a. He thought the barker thought he was a sissy
b. He thought he was being mocked for his weight
c. He thought that he could cross the river himself
d. He thought that he would fall off
6. Discuss what the author means by this line: “But not the poor; they are like fungi. They don’t die. They morph
after a catastrophe.”
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7. What effect does Wigley’s humorous tone have on the essay? Imagine yourself in the situations being described.
Would you be able to see the humor there?
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8. Would a more serious tone have added more meaning to the story? Why or why not? Defend your answer.
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9. Does the Kapampangan dialogue confuse or enrich the story? Defend your answer.
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10. In the end, how does the author’s mother’s composure reflect on Wigley’s own style of writing about the events
in the essay?
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MARKERS

Literary Works are works

which are seen to be well
written and are seen to
have a lasting value.

Context is the collection of

interrelated conditions in
which something occurs.

Style is a unique way of

expressing oneself.

Tone is the attitude being

conveyed by the language
used by the writer.

Humor is a funny or
amusing quality to
something.

Scene is the division in a

written works where an
action occurs without a
break in time.
 Assess
Constellate
For the final activity of this lesson, create a poster from the essay in class. Research about the aftermath of the
Pinatubo eruption and what happened to the people who were affected by the disaster.

2 4 6 8 10
Title No title on Partially/ Title is present, but Title is correctly Title is correct, neat,
project Incomplete title capitalized and written in neat, creative, and
spelled incorrectly attractive letters colorful
Facts No facts on 1 fact is written or 2-3 facts are written 4 facts are written 5 facts are written
poster facts are incorrect or a partially correct and are correct and are correct
Timeline No timeline on Timeline has 1-2 Timeline has 1-2 Timeline has 3 Timeline has 4 or
poster incorrect events correct events correct events more correct events
Illustrations No illustrations 1 illustration 2 illustration related 3 neat, clear 4 neat, clear,
on poster related to events to topic are present illustrations related creative illustrations
to topic related to topic
Color No color is A very limited Poster has a fair Poster uses neatly Poster uses nest,
present amount of color is amount of color colored elements clear, creative
present coloring
Appearance Poster lacks Poster lacks Poster is somewhat Poster is organized Poster is very
neatness & is neatness and is organized and neat and is neat and clear organized with neat,
poorly mostly clear, easy-to-read
organized disorganized lettering

Total
 Assess

1. Well written work that are seen to have lasting value are called __________________ works.
2. The attitude a writer via the language being used by the writer is called the ________________ of the writer.
3. __________________ is an amusing or funny quality to something.
4. A ________________________ in a written work occurs with no break in time.
5. _______________________ is the unique way of expressing oneself.

Process
How does Jack Wigley’s use of humor in his essay examine how Filipino deal with adversity? Write your
discussion in 3 to 5 paragraphs of three to five sentences each.
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Speculate
Faced with a similar situation, how would you react? Would you be able to find the humor in the situation? Write
a five paragraph essay about facing adversity with humor.
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 Set Out
Complete the sentences as honestly as you can.

1. I have discovered that literary style can

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2. After the lesson, I learned that the importance of tone in written works is
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3. During the poster presentation, we understood that, in the face of disaster, we can
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