Philippine
literature in English is an interesting case, full of paradoxes and contradictions.
It is barely 71 years old, yet its writers have achievedhigh
localand internationalreputation,
a fact which becomes more significant if one remembers that in the Philippines,
aside from English, there are nine other major languages used as mediaof
literary expression; its writes at present are faced with the problems
engendered by their choice of English, a foreign language, as the medium
of expression; and, in spite of the reputation it had attained, Philippine
literature in English lacks a literary tradition. There are things one
has to consider in studying Philippine literature in English if he desires
profound and realistic results. This paper, then, will deal with these
things in order to give proper perspective of this literature. Becauseof
the limitation on the length of this paper, it will touch mainly on the
art of poetry.
The
English language was introduced into the Philippines by the Americans at
the start of the century; it is surprising, however, that only 40 years
after, the Filipinos were already adept with it. One is constantly amazed?
wrote Edgar Snow, By the ease with which Filipinos master the difficult
idiom of the American Language, and by the eloquence with which they employ
it?when English was made the medium of instruction in all schools during
the American occupation , English become more widespread, the result being
that now, 70 years later, it is the most popular spoken language in the
country, This skill with the foreign language consitutes a great advantage
that our writers hold over their Asian counterparts, In such writing conferences
as the breadloaf, Iowa, and Harvard workshops, foreigners are indeed amazed
by Filipinos?facility in using English. At the 1968-69 Iowa international
Writers?Workshop , for instance, of the more than 30 participants from
almost all parts of the world, only a handful could write in English. This
advantage, however, must be taken with caution, for facility in language
is only one aspect of writing craft.
Much
of our country’s literature in English for the past 50 years shows a marked
improvement over the over the earlier writings done by the literary pioneers.
technically and aesthetically, there is a great difference between the
poetry of Tarosa Subido, Amador Daguio, Toribia Mano, on the other hand,
and the poetry of federico Licsi Espino Jr., Emmanuel Torres, Jolico Cuuadra,
and Virginia Moreno, on the other. Our poets, generally speaking, have
a better command of their language; they are more aware now in the potentialities
and the power behind words; whereas before they were content merely imitating
American and British models, now they havethe
self-confidence to experiment, and the results are noteworthy. Jose Garcia
Villa, for instance, invented the principle of reversed consonance in rhyming
and the comma poems. Their poemsfind
acceptance by editors of international lmagazines such as The beloit
poetry journal, poetry- a magazine of verse, botteghe Oscure, London imes
Literary Supplement and the new world writing, to
mention only a few, and have been anthologized in American, Italian, and
british collections. In addition, Jose Garcia Villa, undoubtedly the foremost
poet in English, he won the shelley Memorial award for poetry, the American
Academy artsand letters fellowship,
and is a niminee for this year’s Nobel Prize for literature
But
despite this writer’s facility in the English Tongue, they are confronted
with the corollary question: how valid is the use of a foreign languagein
the iteration of native thought s and emotions? Simple as it may seem,
it is a problem that Filipino writers in English have to resolve before
they can really face the task of creative writing. True many of them are
bilingual (writing in English and in their dialects) and even trilingual
(with the addition of either Spanish or French) but the fact remains that
they have ultimately to decide which of these languages really suits their
purpose.
Presently,
it appears that there are two groups of poets in the country:those
committed to social writing and those who write poetry for poetry’s sake.The
first group believes that to articulate the needs for social reforms, and
to expose the ills of the country, it is necessary to employ a language
understood by the largest segment of society.They
argue that since they are writing for the common people, they must communicate
with them in the people’s own language, in this case, Tagalog.This
group can trace its beginning in the writings of Jose Rizal and his contemporaries
of the latter part of the nineteenth century, but it became active only
in the beginning of this decade as a consequence of the agitations for
social changes and of the political unrest.This
group has contributed much to the acceptance of Piilipino as a valid medium
of the literary art, whereas before scholars frowned on it and considered
it somewat inferior to English or Spanish.Now,
magazines which were before exclusively English publish Tagalog poetry
and fiction as well.Some poets who
earlier wrote only in English have joined this group composed mostly of
student activists.
The
second group, opting for the use of English, is composed of writers with
diverse interests.Separately, their
poems are characterised by romantic, realistic, imagistic, philosophical,
and projectil-verse tendencies.They
may write socially commited poems, but this is not a quality shared by
all of them; their individual commitment seems to be a commitment to the
art of poetry itself, independent of any outside factors except as the
experience they explicate is hsaped within the context of poetic verities.This
group is very active in experimenting with poetic forms since it is not,
like the first group, constrained by any political or social considerations.But
still the question opsed earlier about the validity of a foreign language
as a medium of expression faces these writers, and they have been criticised
adveresly for this expecially by the members of the first group.Debates
have been and are still being held about this question.Two
views important in this connection are those of Father Miguel Bernad’s
and Leonard Casper’s.Father Bernard
says that it is not so much of choosing between English or Tagalog as a
realisation that literature in English in the Philippines can prosper and
attain maturity: