00000ctmaa22000004a 4500 UP-99796217610456429 Buklod 20120824084704.0 m |o d | ta 120824s2009 xx d r |||| u| (iLib)UPD-00191503722 DML eng DMLUC LG 995 2009 C6 S48 Severino, Vilma L. Diyos, banwa, gugma at duna sa binalaybay (1913-1941) (Hiligaynon lyric poetry an anthology with an introduction) [Vilma L. Severino]. 2009. 208 leaves "October 2009". Thesis (M.A. Comparative Literature)--University of the Philippines Diliman. Part I. Introduction -- Sources of Hiligaynon lyric poetry -- Hiligaynon lyric poetry : from traditional to modern (1913-1941) -- Conclusion and recommendation -- Part II. Anthology. The connection of Hiligaynon lyric poetry (1913-1941) to one particular site -- the debate between the traditionalist and modernist forces -- is presented in this study within a historical framework and through the examination of the internal and external elements of the lyric poems published in the Ang Makinaugalingon from 1913 to 1941. In general, tradition refers to the consciousness of the past and modernism is a breaking away from tradition thus their historical context. In this connection, the traditional lyric poem in Hiligaynon is identified with the indigenous forms of the pre-Hispanic period such as the folk songs, the proverbs and the riddles and also the lyric poems composed during the Spanish period. On the other hand, modernism is identified with the poetic output during American colonialism. The internal elements of poetry would be the structure of poem -- its meter, rhyme, number of lines in a stanza. The external elements are the factors, whether political, social or economic, which constitute the poet's responses to his own environment. The poems by poets considered as traditionalists or modernists by Hiligaynon critics have been found to conform to the traditional form of the Hispanic meter using the quatrain of four lines, the rima perfecta or perfect rhyming, the vowel or consonant rhyming and the more common dodecasyllabic line of 8 syllables. One distinction though is the attempt by the modernist to mix genres as shown in the poems which combine the lyric-dramatic format using the romantic or didactic theme. Another distinction is the sentimentality of the poems of the traditionalist in contrast to the restrained tone of the modernist in their expression of the love experience. The crossings between traditional and modern lyric poetry in Hiligaynon is shown in their renewal of contact with the past thus the views of the poems on indigenous themes such as nationalism, religion, love and moral issues as well as their representation of the elements of Spanish romanticism. They are also responsive to the factors that shaped their environment during the American period thus the anti-American poems exhorting the rejection of foreign domination as well as the American lifestyle that had eroded the Catholic foundation of the people's code of conduct. Traditional and modern lyric poetry in Hiligaynon can be distinguished only in terms of their structure but with regard to their thematic dimension, they have commonalities in their consciousness of the past. Tradition is found not only in traditional poetry but in modern poetry as well. Love of God, love of country, love for a woman, the emphasis on the importance of virtues may be traditional or modern. These traditional themes might as well identify the traditionalists and modernists as romanticists, the product of the influence of Spanish romanticism and its various elements which incidentally are also found in the indigenous forms of the past. This interconnection between the present and the past is significant because it shows that the sources of the Hiligaynon lyric poems in the American period belong to the past, sources which are bedrock and enduring and will therefore put a stamp of validity on these lyric poems in Hiligaynon. Hiligaynon literature History and criticism. Hiligaynon poetry Collections. Hiligaynon poetry History and criticism. Hiligaynon poetry Translations into English. FI UP Thesis UPD DARCHIVES LG 995 2009 C6 S48 Thesis