lyrical essay tagalog

Filipino (Tagalog) Writing Examples

The following shows writing examples at various proficiency levels. These were produced by real language learners and may contain errors. See Writing Section Tips at the bottom of this page.

Filipino (Tagalog) Proficiency Tests and Resources

Writing Examples

At this level, I am able to create individual words that have no extended meaning.

I can share some simple vocabulary, which deals with the prompt/task/situation, but I tend to struggle to connect those words to create meaning.

matulog Maglaro Basahin ang

At this level, I am beginning to develop the ability to create meaning by grammatically connecting words.

Specifically, I can connect some basic subjects and verbs or verbs and objects, but I may be inconsistent at doing this.

I am often limited in my vocabulary to Novice level topics that I experience in my every-day life or that I have recently learned.

kumain ng tsokolate kumain saging

At this level, I can create simple sentences with very basic grammatical control and accuracy.

There are often errors in my responses, while at the same time I might have good control with some very simple structures and functions of the language that I have just learned or studied.

At the Novice levels, errors are expected as I try to create simple sentences. Generally, the sentences that I am able to create are very basic and simple with few, if any, added details.

Ayaw niya mag-aral. Gusto niya maglaro.

At this level, I can create simple sentences with some added detail; such sentences help create VARIETY.

At the Intermediate Low level, simple sentences are enhanced by use of prepositional phrases, helping verb usage, as well as some adverbs and a variety of adjectives.

I generally create independent sentences (ideas) that can be moved around without affecting the overall meaning of the response. There are still a number of errors in my response, but I have fairly good control of more basic sentences. I am feeling more confident in using different structures and expanding vocabulary and taking more risks with my responses.

Ang masayang experience ko - maglaro ng soccer. Nag-lalaro ako ng soccer araw-araw kasama kaibigan ko. Naglalaro kami sa kasama mga kaibigan ko sa school team. Sa championship, naglaro ako lahat ng laro at nag-goal. Masaya ako kasama kaibigan at pamilya. Kumain kami ng pizza pagkatapos ng game. Gusto ko ang soccer.

At this level, I can now create enough language to show groupings of ideas.

My thoughts are loosely connected and cannot be moved around without affecting meaning.

I can also create a few sentences with complexity and am able to use some transition words.  I am also able to use more than just simple present tense, but often make mistakes when I try to use other tenses.

My vocabulary use is expanding and I am able to use more than the usual, high frequency or most common vocabulary. I feel that I am able to create new language on my own and communicate my everyday needs without too much difficulty.

Marami na masayang bagay sa buhay ko. Marami akong masayang memories. Isa na pinakamasaya ay ang paglaro ng golf. Naglalaro ako ng golf noong limang taon ako. Gusto ng nanay at tatayo ko mag-golf noon bata pa sila. Tinuruan nila ako ng marami sa golf. Noong nasa highschool ako, naglaro ako sa school team. Magaling kami. Tinuruan ako ng coach ko. Natuto ako ng maraming bagay na importante ngayon. Natutunan kong huwag magalit. Minsan, hindi maganda ang pag-tama sa bola kaya nagagalit ako. Hindi na maganda ang paglaro ko. Magaling ang coach ko mag-turo.

At this level, I have good control of the language and feel quite confident about an increasing range of topics.

There are still some occasional errors in my language production, but that does not hinder my ability to communicate what I need to share.

I can use circumlocution to explain or describe things for which I do not know specific vocabulary or structures. I can understand and use different time frames and am just beginning to develop the ability to switch most time frames with accuracy. I can use transition words and concepts with some ease. My language has a more natural flow, but I still may have some unnatural pauses or hesitations.

Isa sa pinakamasayang karanasan ko ay ang bakasyon ko sa France para sa student exchange. Hindi ko malimutan ang mga estudyante na may ibang buhay kaysa sa mga American. Sa aking bakasyon, bumisita kami sa mga historical sites at mueseums at restaurant at mga shops. Pinakamagandang karanasan ang maging isang exchange student at tumira sa bahay at gayahin ang kanilang buhay. Malaking parte ang pagkain sa France pero marami pa. Palagi kong naiisip na ang ating bansa ay walang pareho. Pero, ang pagpunta ko sa Europe na lahat ay iba ang nagpaiba ng isip ko. Alam ko na ang karanasan na ito ay maaalala ko habang buhay.

At this level my response contains a number of complexities with higher degree of accuracy.

Such language allows me to address each aspect of the prompt more completely and with more depth of meaning.

I am able to use Advanced vocabulary or Advanced terms, conjugations etc. with confidence. I feel that I can create natural flow using as much detail and descriptive language as possible to create a clear picture. Errors with more complex structures may still occur. My ability to switch time frames begins to increase in accuracy.

Sa palagay ko isa sa pinakapangit at masayang bagay na nangyari ay noong nagkaroon ako ng concussion. Ang petsa at ika-apat ng Enero 2016. Unang araw ng pasok pagkatapos ng bakasyon at ayokong bumangon. Dahan-dahan akong bumaba at ginawan ko ang sarili ko ng peanut butter toast sa dilim, tamad akong buksan ang ilaw. Kailangan kong kunin ang mga gamit ko para sa klase para malagay ko sa bag ko. Dahan-dahan akong umakyat papasok sa kuwarto ko. Kinuha ko ang school supplies ko at napuno ang aking my kamay at braso at bumaba. Lumakad ako sa dilim habang iniisop ko ang mga assignment na kailangan kong tapusin. Hindi ko pa rin binuksan ang ilaw at iyon ang naging maling desisyon ko noong araw na iyon. Nadulas ako dahil sa walis na nakahilata sa sahig. Hindi ko magamit ang mga braso ko dahil puno ito ng mga gamit para sa school. Natumba ako at nauntog sa sahig. Naramdaman ko ang sahig sa likod ng ulo ko na may samang kirot sa ulo. Wala akong naalala kung ano ang nangyari pagkatapos pero nakarating ako sa opisina ng doctor. Nagresulta ang concussion na ito ng depresyon at lungkot. Hindi ako makagamit ng teknolohiya. Masakit gumalaw. Tuloy-tuloy ang sakit ng ulo ko. Tulog lang ako ng tulog, mga 22 oras sa isang araw. Pero, magaling na ako, hindi ako sumuko. Pero, naapektuhan ang aking pag-iisip kaya’t mahina na ako sa math at language hindi kagaya noon. Kahit na mabuti na ako, nakakaranas pa rin ako ng mabigat na depresyon. Pero mabuting naranasan ko ito. Sa tingin ko, ito ay masamang bagay at pinakamalungkot na trahedya. Pero, naisip ko rin na matapang ako dahil kinaya kong manatili sa kama na malungkot sa mahabang panahon at nakatayo ako muli.

At this level my response demonstrates my ease with the language.

I am able to create a response which not only addresses each aspect of the prompt, but delves into each point with clarity and concise language.

I am able to incorporate a number of more complex structures as well as Advanced vocabulary and Advanced phrases with a higher degree of accuracy throughout the majority of the response.

The language I create has a natural flow due to the way I incorporate a variety of patterns and complexities into my response. My response shows my ability to create language that has sophistication of language skills and syntactical density. My ability to switch time frames accurately is evident, if called for in the prompt.

Isa sa pinakamasayang karanasan ko sa buhay ay nangyari noong walong taong gulang ako. Isa akong tagalinis sa conference center bilang summer job ko. Sa sumunod na taon pagkatapos ng unang taon ko sa kolehiyo, naghahanap ako ng trabaho at hindi ako sigurado kung makakahanap ako. Sinabihan ako ng aking kapatid na lalake tungkol sa dati niyang trinabahuhan, at naghahanap daw sila ng trabahador para sa tag-init. Nagpasya akong mag-apply at umasang matatanggap ako. Ngunit, hindi ko nakuha ang posisyon na una kong ginusto. Sa halip, natanggap ako bilang isang tagalinis. Ako ay naging isang housekeeper sa isang conference para sa tag-init. Ang tag-init ay puno ng mga kaganapan. Marami akong mga problemang nakaharap na hindi ko naisip bilang isang bisita sa isang hotel. Nag-ayos ako ng kama, naglinis ng kubeta, naghugas ng bintana, nag-vaccum, at marami pang iba’t ibang mga gawain. Sa ganitong paraan ko lang natuklasan ang aking kakayahan. Hindi karaniwan ang magtrabaho ng anim na beses sa isang linggo embes na lima o kaya’y magka-extra shift sa umpisa o katapusan ng araw. Patuloy-tuloy lang akong nagtrabaho pero natuwa naman ako sa sarili ko. Sineryoso ko ang aking trabaho bilang isang tagalinis. Tinutulak ko ang sarili kong maglinis nang mabuti at pati na rin maglinis ng mabilisan. Sa madaling panahon nakakapaglinis ako ng kuwarto kalahati ng oras kumpara sa iba. Nasorpresa ako noong nakatanggap ako ng employee of the month award sa pangalawang buwan kong pagtatrabaho. Napaisip ako na ang aking trabaho ay napapahalagahan at sa uulitin alam ko ang aking kakayahan. Kahit na hindi ito isang grandeng karanasan, sapat na ito sa akin. Natutunan ko ang halaga ng pagtatrabaho at naisip ko kung ano ang mga kaya kong gawin. Sa kabuuan, ito ang karanasan na nagbukas ng mundo no posibilidad at sa ganoong rason, ito ang pinakamasayang karanasan sa buhay ko.

Writing Section Tips

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• Be a ‘show-off’ – this is the time to show what you can do!
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• Challenge yourself to go above and beyond what you normally write.
• Be creative and don’t stress out over possible errors. Perfection is not the goal!

Simply do your best and enjoy creating and communicating in the language that you are learning.

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THE LYRIC ESSAY

The students were asked to read two texts: “The Death of the Moth” by Virginia Woolf and Prof. Cruz’s notes on the Lyric Essay. They were also asked to watch the YouTube video regarding the discussion of Suzanne Roberts on the Lyric Essay. After which, the discussion on the board revolved around the student’s explanation as to why they think Woolf’s essay can be considered a lyric essay.

"I don't think two people could have been happier than we have been." This line is taken from the letter of Virginia Woolf to Leonard Woolf in the movie "The Hours." You can watch the scene on this YouTube link.

The Death of a Moth by Virginia Woolf can be considered as a lyric essay because of its narrative, the play of vivid imagery, its poetic lines, and musicality.

The structure of the essay for me is similar to a story told in a linear narrative. A persona narrating the journey of the moth which is a metaphor to how we live; how it desperately thrives on living its one-day lifespan, how it faced its death while other living organisms around the moth lived a little in ease without the fear of death. However, as the persona narrates, he/she is reflective and very keen at the same time. The persona’s keenness became a tool in the play of vivid imagery, which presents the imaginative form that a lyric essay has. In addition, the metaphor in the life of the moth in the essay can be interpreted and fleshed out in various ways, like how a lyric essay is free of interpretation. 

The musicality and poetic lines observed in the poem are apparent, especially at the beginning. The shift in tone and mood; sadness, sympathy, curiosity, and the like are also clear, making the poem a lyric essay.

It is impressive how Woolf’s “The Death of the Moth” captured both the ideas of life and death through the image of a Moth. With the use of that imagery, the author was able to subtly conceal the information on how humans, just like the Moth, struggle to live day by day and yet are eventually bound to death despite the attempt to live longer. Moreover, with the help of imagery, the write up was able to convey the information artistically and also, it was able to have a touch of poetry in it, given the fact that poets use the same technique in their poems. Furthermore, the musicality of lines, particularly the last one, "O yes, he seemed to say, death is stronger than I am," also strengthened the poetic aspect of the writeup.

Aside from being impressed, I was also challenged to take cognitive leaps as the essay created webs that connected one scene, idea, or information to another. I would say, one moment the essay talked about the Moth then another moment, it went on talking about the plough, rooks, energies, and everything in between them, which really made me imagine the events happening there so I would not get lost. Having said that, that characteristic of the writeup leans more to an essay because as mentioned before in one of our lessons, the essay is an attempt, in which the author has no predetermined idea on where exactly to go, hence creating a work that might be as messed up as the Moth’s direction of flight.

With all those things mentioned, indeed Woolf's essay can be considered as a lyric essay which I enjoyed reading and immersing myself in, at the same time.

Woolf’s “Death of a Moth” is considered a lyric essay because it displays and employs different literary characteristics and attributes that are commonplace in the genre of the lyric essay. An obvious example of this is the seemingly reticent nature of the persona, who reveals almost nothing about their own life and instead focuses on the poetic image of the dying moth set against the windowpane. This emphasis on the ‘image’ is also another major aspect of the lyric essay, showing how the essayist (Woolf) uses the poet’s obsession with imagery and form along with the narrative styles and progression of a fictionist. Examples of these images are the detailed musings about the rooks, the events and sceneries of the field, and the description of the little moth itself. 

The essay also strays from the discursive and persuasive nature of the traditional narrative essay and instead chooses to focus on Woolf’s “meditation” on the image she is witnessing and its poetic nature. As mentioned by Suzanne Roberts in her brief description of the lyrical essay, the lyrical essay asks its readers to make more cognitive “leaps” in comparison to the narrative-based essay, and I think that this holds true for Woolf’s work. The essay relies on implications and seems to point towards what is not explicitly stated in the text. This rings true to the notion that the lyric essay “does not expound, it may merely mention”. Lastly, the essay also has an inherent musicality to it which only highlights the poetic aspect of the text that works in harmony with the narrative progression of the essay.

Taking all these elements into consideration, I believe that “Death of a Moth” is not only fit to be considered a lyric essay but is rather an exemplary work in this specific genre of the essay.

Reading Virginia Woolf’s essay “The Death of the Moth” had given me a chance to be more intuitive of the subject it was trying to discuss. I initially thought it described what infertility a lover’s man may feel but then I started realizing it may also be about the mere illustration of how humans desire to make the most of their existence despite the insignificance of it all as everything dies. The essay actually allowed me to be the stakeholder of its meaning which led me to believe that it is a lyric essay. Aside from that, the essay engrossed itself with such vivid images as poems do but it did not bother explaining said images as thoroughly as traditional essays do. Just embodied truths trying to hide behind the image of a moth. I also noticed the musicality of the prose as if Woolf treated each sentence as lines of a poem. Although it had qualities of poetry, it managed to present discursive logic in a playful manner as essays do. Suzanne Roberts suggested taking the form of a lyric essay in “accessing difficult materials” and what could be a harder material than the concept of death and life, right?

This is quite an interesting subject that got me pondering about the difference between Doyle's essay and Woolf's essay. However, after a simple look at a poem would reveal the contrast. Lyric essay is flexible. It borrows the techniques from the essay as well as the poem. It might be structured and rigid like an essay, it might be not. Lyric essay has the freedom to be more versatile for authors who are not quite sure what style of writing to employ. In Woolf's essay, the lyricism is found in the subtlety of delivering its theme in a series of contrasting images. You can also hear the musicality in the way Woolf, cut off her sentences as if imitating line segments. The essay doesn't present information. It shows a story to deliver its message. In Doyle's essay, he's pretty straightforward. He presents information as it is and then build upon it to conclude with his theme. However, in this essay, Woolf tells us a story of a moth dying, which begs the question: what is the essay all about? Perhaps, she wants to emphasize the temporariness of life. Or perhaps, she wants to say that nothing, big or small, escapes death. Regardless, in her essay, filled with an arc, a narrative, a persona—all which are reminiscent of a/an prose/essay—she also combined it with the lyricism of poetry. It felt like a short story (a flash fiction perhaps?) to be honest that in conclusion, it is indeed a lyric essay.

According to Suzanne Roberts, a lyric essay is written in prose but involves an obsession with image--a technique that a poet uses. And Virginia Woolf's "The Death of the Moth" also conveys its idea using poetic language, particularly an extended metaphor through a dying moth clinging to life. This author's approach, including the tone, allows the reader to connect with the image emotionally: the sharing of sympathy towards the moth, thus creating intimacy.  Another reason why "The Death of the Moth" is considered a lyric essay is that it allows its reader to create meaning (to participate) or to think and tell about what does the text is trying to say through connotations: how humans are struggling to live, or about death being inevitable, or how humans are trying to live the best as they can despite the certainty of death, or struggling will only end through death, etc. In connection to this, I also think that the pieces of images used in the essay are mosaicked to create such intuitive meanings.

From the definition provided by Roberts, Tall, D'Agata, and Bonnaffons, we can say that Virginia Woolf's "The Death of a Moth" is a lyrical essay as it has the musicality and language seen in poetry, and the relayed insights and ideas we can observe in poetry. Moreover, it merely mentions its ideas and relies upon the readers to think on its insight, but it provides repetition on its images, the sense of pity (ie. little, fragile) to make a clear suggestion that the life, and death, of the moth, means more to the writer and potentially to the reader as well. While the essay has a story structure, it is only a passing mention, as the experience could be nothing more than an elaborate metaphor displayed as a fragmented recollection that strikes a nuanced feeling to the author about their life. After all, what compels a person to remember a simple memory such as witnessing a dying moth?

Suzanne Roberts mentioned that the lyric essay borrows elements from both fiction and poetry, and we can see this in Virginia Woolf's "The Death of the Moth." In her essay, Woolf utilized poetic devices such as metaphor and personification in conveying the intricate details presented in the text. There were also evident leaps in the narrative and an abundance in imagery. More so, this essay did not stray from the claim that "the lyric essay does not expound." In here, we see how Woolf's essay suggest something, perhaps an experience of the essayist or her state of mind, and yet, it did not expound on the idea. It allowed the readers to take part in the narrative, in creating conjectures and meanings behind the lines; it gave room to reflections as though we were meditating on the concept of life and death.

Virginia Woolf's "The Death of the Moth" can be considered as a lyric essay not just because it is an essay and because it used poetic devices. As Suzzane Roberts vaguely defined the lyric essay as an essay about one thing but it's not really about that thing, "The Death of the Moth" is clearly an essay that is not about the Moth's death. The essay describes how the Moth has lived and died, but the narrative may also imply that it is about another person's death or generally, the death of all of us. The use of metaphors and images that poets use in poems allow the lyric essay to make the point across to the audience, without having to narrate the whole event. This way, it becomes easier for the writer to write about things that are not emotionally easy to write about because there are a lot of memories that they would not want to re-live (which reminds me of how writers write memoirs to come to terms with their experiences).

When I first read the essay, I thought that the essay was too emotionally detached. There was little to no empathy to the Moth that has died as it was described only as pitiful and pathetic. But I am reminded that the lyric essay, and essay in general, is a writer's tool to speak their truth. And maybe, a little emotional detachment from the Moth shows how Woolf wanted to detach herself from death and only express how helpless she felt against it.

The Death of the Moth by Virginia Woolf narrates the ephemeral life of a moth the author saw one September morning. Traditional essays often explicitly tell the readers what it is trying to say. However, in this essay, the insight is not delivered to us along the typical line of “I realize” or through retrospective epiphany. The form is also compact; within a span of a thousand words, the essay described the activities of the moth until its last breath juxtaposed by images of life – the birds, plowing of the fields, horses, etc. -- outside the writer’s room. The techniques used in the essay are reminiscent of poetry which is a form that unsays what it speaks about. This is evident in how Virginia Woolf observed how the world outside went on and was unaware of the moth’s struggle against death which is a powerful metaphor about the transience of life. Though Woolf leans on narration more than fragmentary storytelling the way poems do, she still conveys her meaning through poetic conventions such as images, lines, and metaphors. The Death of the Moth demonstrates those qualities which for me qualifies the essay to be considered as a lyric essay.

One thing I cannot forget from that youtube with Suzzane Roberts on what a lyric essay is, is that she says, Lyric Essay is like Poetry and Essay’s love child. By reading Virgina Woolf’s essay “The Death of the Moth”, I think it would be considered as a lyric essay by the way the essay is written. In the previous essays we read in the past weeks, the essay has been more persuasive and more inclined to expressing logical facts but written in an engaging, creative and sometimes personal way, like how Montaigne writes his essays for example. But in Woolf’s essay, it is more suited in what Seneca Review says about lyric essays that it gives priority to creativity over conveying information. The Death of the Moth is talking about or comparing the struggles of human life by relating it to that of a moth. It’s metaphoric like poetry but still faithful to the original sense of an essay that it is a test; to try.

Woolf's essay displays specific characteristics of a lyric essay, as it holds images and metaphors while ruminating its readers with the facts she wants them to know. The essay manifests both lyric qualities by presenting the moth as the main metaphor for life, and the essay in its attempt to present a knowledge which she later points out that "death is stronger than I am." Conclusively, I think the essay embodies both qualities to form a "collage" or a picture with a completely new meaning that the author intended to "ruminate" on her readers.

Woolf’s The Death of the Moth centers its subject around the fickle life of a desperate moth stuck on the window pane, retelling the strangeness of life and of death. With rich imageries both of the setting – the rooks, the field, even the atmosphere of a September day – and of the bead of life that is the moth, the essay shares the musicality of the language, the stories in metaphors that poetry holds. The essay is also suggestive rather than an overt narration of the theme through its factual, yet metaphorical, story of the moth’s struggle. As it gives words to the moth and an image to what has transpired, the voice is both intimate and personal. There is also a poetic logic in the author’s reflections of the once fluttering moth that has then become stiff with death. With this balance between the elements of poetry and of an essay, Virginia Woolf’s The Death of the Moth can be considered a lyrical essay.

Woolf's "The Death of the Moth" circulates on the activities of the little moth through the point of view of the speaker, but it does not only talk about that one thing, it  extends to various subjects in relation to it, then goes back again to featuring the moth. It is a lyric essay due to its web of interconnected ideas, its poetic description of thoughts and comments, and its display of a particular experience (the moth through the speaker's perspective) that somehow becomes a universal message: the totalitarian power of death. Moreover, Woolf's essay, similar to the lyric essay's attempt of no foreknown conclusion, offers rooms for the readers' own interpretations. Was the moth really pathetic for its limitedness? or was the moth strikingly bold to even try, considering its smallness and helplessness, to fight against the ruthless verdict of death?

Personally, I find Woolf's lyric essay a very interesting one--how she is able to build a sentimental meaning to something so mundane. 

The Death of the Moth by Virginia Woolf may seem as simply an observation by Woolf to the moth struggling for its life and, in the end, met its inevitable death. There are three points why this essay is considered a lyric essay. First, it takes the form of a mosaic. When seen from afar, the essay does not only talk about what happened to the moth but rather something deep, as we can see Woolf telling her truths once in a while in the essay. We can say it talks about the human struggle, forces that are too significant for us to control no matter how great our efforts are, the human death, or maybe it talks about the female struggle living in a patriarchal world. The point is, the truths are told in patches that can only be seen if one looks from afar.  Second, the essay is very visual in a way that it clearly tells whatever is happening to the moth, from its actions to what can also be seen in its environment both factually and metaphorically. According to Susan Griffin, lyric essays have an “openness to visuality as a tool of meaning-making,” which Woolf’s essay used to express its “embodied truths”. The third is the use of poetic language. There is a certain balance between art and fact in Woolf’s essay. It also makes use of silence. If imagined, the whole scene of the moth moves in silence, and in this, we readers become immersed in forming meaning to it, allowing us to “reconcoct meaning from the bombardments of experience”.

Woolf’s The Death of the Moth can be considered a lyric essay because “it spirals in on itself, circling the core of a single image or idea” which is death. It is ruminative in a way that it as Woolf deliberately crafted the reader’s experience through the death of the moth. The essay is also what Suzane Roberts said “it is obsessed with imageries”. These imageries are evident from the beginning of the essay. Through the author’s first point of view, she describes her morning around summer with the whole scenery from outside her window as she witnesses the moth struggling to escape her window. Moreover, the essay “approach the world through the front door, through the myth of objectivity” as Woolf ended her essay with the thought of no one really cares about the struggles you have, the same as “there was nobody to care or to know, this gigantic effort on the part of an insignificant little moth”. This thought was Woolf’s discovery as she observed that the moth struggled for its life that “no one else valued and desired to keep” and according to her, “moved one strangely.”

The essay The Death of the Moth by Virginia Woolf will seem, on first read, as some sort of mere depiction of the struggle and death of a common moth. But when read carefully, the essay actually reveals a metaphorical take on life and death. For me, the primary reason why this essay is considered a lyric essay is first, it’s fragmented manner of telling. In the essay, most of what we see are snippets of many vivid images. We can see this especially in the beginning of the essay as it leaps from one image to another, and this was further developed as the essay progressed. This mosaic of vivid images gives readers a more sense of experience, and then these images were latched to the inner thoughts of the narrator which tells us that the essay is not merely as it seems. Which leads to the second reason: this essay is a reflective and philosophical take on life guised in the depiction of the struggle of the moth. As said by Deborah Tall, lyric essays favors “idiosyncratic meditation.” This essay by Virginia Woolf used the image of the moth to explore and deal with some meaningful truths about human existence—especially of the inevitability of struggling and death. And lastly, the wonderful use of poetic language, along with the aforementioned reasons, qualifies this as a lyric essay.

Woolf’s essay is a lyrical essay that employs the same technique that poetry uses in the way it utilizes the image that it used. The message heavily relies on the image of the moth that is used. With the description of what the moth looks like, how it moves, and its corpse contributed to the complexity of the message that it explicitly said in the end line: “O yes, he seemed to say, death is stronger than I am”.

Given this, I was honestly a little confused on where and how the cognitive leap that the readers must make (in lyrical essays) was supposed to be taken. I took into account the other images that were also mentioned such as the world outside the room that the persona was occupying. In which, I realized that the death of the moth intertwined with the bigger world outside the room was alluding to another message. Although the moth dying already sent a message about the inevitability of death, if intertwined with the image of the world, it gives a much more complex and depressing message which is: we’re all as insignificant as this Moth. Even when the moth was fighting its battle which it ultimately lost, the world outside kept on going. For the moth, it was its’ last day, for the world: it was just like any other day. And when our last day comes, it’s going to be exactly like that.

It’s poetic in its use of the mages and the interplay of these to show the complex message it portrays.

Photo Reference by Taryn Elliott

26+ Easy Poetic Tagalog Words You Should Learn

• , May 3, 2024

Here’s the truth: The Filipino language is a beautiful language. But what makes this one unique is its set of poetic Tagalog words like ‘ kilig’ and ‘bayanihan,’ which we will learn today. So, keep reading below!

What makes a language unique? It’s the words that are products of the beautiful Filipino culture. The Philippines has many of these poetic words in the Tagalog language. These deep Tagalog words are products of the country’s long history, even before the colonizers came.

The culture and history make these words uniquely Filipino, even though it has similar ideas to the English language. So, let’s discover the beauty of the Filipino/Tagalog language.

Table of Contents

What is the tagalog word for beautiful.

Poetic Tagalog words are simply beautiful, so before we go over the top words, let us first learn how to say the word beautiful in the Filipino language. Filipinos usually use the word maganda (beautiful) in most situations. You can use it to describe a person, thing, place, and more. However, Filipinos also use the following terms:

Filipinos use these essential words to say ‘beautiful’ in their language. The meaning of these words may be the same, but they are used in different situations and contexts. To learn more, read 7 Easy Ways To Say Beautiful In Tagalog .

26 Poetic Tagalog Words

Every language is unique, and like other languages, Tagalog/Filipino language has a lot of beautiful words to offer. It’s a product of their rich culture and history. These words have been passed orally, written, and preserved until today.

Another reason why these Tagalog words are considered beautiful is that they are uncommonly used in casual conversations. With continuous modernization and globalization, some Filipinos no longer know the meaning of these words. So when you hear these words, it is music to the ear.

Luckily, some people, like writers, songwriters, teachers, etc., still fight to preserve them. You can see many of these poetic Tagalog words on social media, like those usually pinned on the free Pinterest app. You can go to Pinterest, log in, and search for these words. These words will also be shared with people wherever they are, even if their first language is not Filipino.

If you want to expand your vocabulary with poetic Tagalog words, here’s a list of 26 words to start with. You will learn the words and the culture and history behind what made them uniquely beautiful.

1. Bayanihan (Communal Unity)

• Example Sentence: Nakita ang diwa ng bayanihan ng mga Pilipino dahil sa community pantry noong pandemya. (The spirit of communal unity was seen because of the community pantry during the pandemic.)

The most beautiful poetic Filipino word is Bayanihan , the spirit of cooperation and communal unity. This is one of the words that are truly valuable in Filipino culture.

Bayanihan is one of the greatest Filipino values that can still be seen even today. The most famous picture of these values is the ‘ lipat-bahay ,’ where Filipino people lift a bahay kubo (a traditional Filipino house ) to relocate. This culture turns an ordinary person into a real-life hero.

2. Kilig (Feeling Of Exhilaration Or Elation)

• Example Sentence: Hindi ko mapigilan ang aking kilig nang makita ko siya. (I couldn’t help but feel exhilarated/elated when I saw him/her.)

Have you ever felt butterflies in your stomach when you see the person you like or love? This is what ‘ kilig’ feels like, although there’s no direct translation of this word in English. It’s the feeling of exhilaration or elation one experiences in romantic or exciting situations, for example, when an Army met the BTS or when a “Swifty” met Taylor Swift.

3. Harana (Serenading)

• Example Sentence: Uso pa ba ang harana? (Is serenading still in style?)

Harana is the traditional way of courting someone . It is when the suitor is wooing the person they like by serenading . Back in the old times, only the guys did this in front of the girl’s house with their instruments and some backup. The girl will just look out her window. This is one of the popular ways of old-style courtship that will never fail to make your heart race. Nowadays, you can also see girls serenading boys.

4. Kundiman (Traditional Filipino Love Song)

• Example Sentence: Palagi kitang aawitan ng kundiman. – (I will always sing you a traditional love song.)

In connection to harana, kundiman is also a word you must learn. Kundiman is a love song. This is the song that guys sing and play in a harana. One of the classical Kundiman is Bituing Marikit (1926) by Nicanor Abelardo.

The Philippine art song, kundiman, originated during a movement against Western musical traditions in the late 19th and early 20th centuries. The genre, which portrays courting and undying love , served as a platform for regaining Filipino nationalist identity.

Composers like Francisco Santiago and Nicanor Abelardo were instrumental in its development. They created songs that drew inspiration from traditional folk melodies as a form of cultural expression and resistance against Spanish and American influences.

5. Tinatangi (Special Someone)

• Example Sentence: Mayroon na akong titanatangi. ( I already have a special someone.)

One of the sweetest things in life is knowing that you are somebody’s ‘ tinatangi ‘ or special someone . Filipinos use this word to refer to their special someone, and you’ll mostly hear this during courtship.

The word ‘ tinatangi ‘ came from the root word ‘ tangi ,’ which means ‘one’ or ‘one and only.’ So, if someone says “Ikaw ang aking tinatangi.” It means that you’re their only one.

6. Kaulayaw (Intimate Companion)

• Example Sentence: Nag-usap sila ng kaniyang kaulayaw sa asotea . (She talked with her intimate companion on the balcony.)

‘ Kaulayaw ‘ came from the word ‘ ulayaw ,’ which means intimate conversation . Given this, ‘kaulayaw ‘ means a pleasant and intimate companion. In one of the Philippines’ Obra Maestra called Noli Me Tangere, a chapter called “ Pag-uulayaw sa Asotea ” where Maria Clara and Crisostomo Ibarra talked in the ‘asotea ‘ or balcony. They reminisce the memories of their relationship while being away from each other for a long time.

This scene is what traditional Filipino courtship and relationships look like. The guy visits the girl at her house. Nowadays, this culture is not strictly practiced, especially in urban areas like Manila. However, old-fashioned parents still want to keep it this way, especially in rural areas.

7. Paraluman (Goddess/Muse)

• Example Sentence: Paraluman, ika’y akin nang dadalhin sa ‘di mo inaasahang paraiso. – ( Paraluman , I’ll take you to an unexpected paradise.)
• “Kamukha mo si Paraluman noong tayo ay bata pa.” – (You looked like Paraluman when we were young.)

Filipinos will choose to sing the line above rather than simply read it. Why? It’s because it came from a very popular Filipino song called “Ang Huling El Bimbo” by Eraserheads, where they mention ‘ paraluman ,’ a Filipino-German actress. Her name is Sigrid Sophia Agatha von Giese.

They use the word ‘ paraluman ‘ there is used to refer to a very attractive woman. In the early nineteenth century, Filipino poets used ‘ paraluman ‘ to describe a muse or a woman who inspires creativity . It’s also an antiquated Tagalog word for ‘magnetic needle,’ which functions similarly to a compass. In this sense, the term ‘paraluman ‘ is no longer used.

In the concept of being a particularly attractive female, a ‘paraluman ‘ can also mean “goddess.” If you want a more relatable illustration of the term, you may listen to the song Paraluman by Adie. Turn on the subtitles to understand the lyrics. You can also hear a lot of beautiful Tagalog words in this song.

8. Makisig (Handsome/Dashing)

• Example Sentence: Isang makisig at mabuting-loob na binata ang gusto niya. (She likes a handsome and kind-hearted man.)

Have you seen a dashing, handsome, smart, and refined man ? In Tagalog, the word for that is ‘ makisig ‘. This might be the kind of man some Filipinas want, but of course, they are not always looking for someone handsome. Back in the old times, the man was expected to prove his love and worth to the woman’s parents before marrying her. This is something that dating apps cannot do nowadays.

9. Tadhana (Destiny/Fate)

• Example Sentence: Ang tadhana ang nagdala sa atin sa isa’t isa. (Destiny brought us together.)

There are things in life that we can’t control. Whether we like it or not, these things are meant to happen because it’s our ‘ tadhana.’ The Tagalog word ‘ tadhana ‘ is an unseen power that causes events beyond mortal control.

10. Gunita (Memory/Recollection)

• Example Sentence: Ang ating mga gunita ay mananatili sa aking puso. (Our memories will always be in my heart).

Do you have a fond memory or recollection that you cherish dearly? The Tagalog word for that is ‘ gunita.’ Nowadays, you’ll often hear this word in songs, stories, and poems. People don’t always use this in casual conversations.

11. Bathala (Supreme Being/God)

• Example Sentence: Noong nakita kita sa tagpuan ni Bathala may kinang sa mata na di maintindihan. – Tagpuan by Moira (When I saw you in God’s meeting place with a spark in your eyes I can’t understand.)

Christianity arrived in the Philippines during the Spanish colonization. Before that, ancient Filipinos used to worship deities. Like Romans and Greeks, Filipinos also have mythology, and ‘Bathala ‘ is the Supreme Being, the creator and ruler of the cosmos, based on the old Tagalog indigenous religion .

12. Amihan (Northeast Wind)

• Example Sentence: Madarama ang Hanging Amihan sa Pilipinas mula buwan ng Oktubre hanggang Disyembre. (The Northeast Monsoon can be felt in the Philippines from the month of October to December.)

Amihan is the word locals use to refer to the Northeast wind. Interestingly, it is also the name of the goddess of wind in the hit Filipino fantasy series Encantadia .

13. Timpi (Self-Control/Restraint)

• Example Sentence: Kahit ako ay sobrang galit na, pinilit ko pa ring magtimpi. ( Even if I am really angry, I chose to control myself.)

Have you ever experienced being too annoyed, angry, or excited, yet you managed to remain calm? The Tagalog word for that is ‘timpi.’ It is also used in the context of controlling onesel f under challenging situations.

14. Tampo (Sulking/Withdrawing Affection)

• Example Sentence: Nagtatampo ang aking kasaintahan dahil hindi ako nakapunta sa aming usapan. (My girlfriend is sulking because I failed to make it in our date.)

There is no exact translation of this word in English, though “sulking” or “to sulk” is frequently considered the closest. ‘Tampo ‘ is a term used in Philippine culture to describe various behaviors in which someone withdraws their affection or cheerfulness from someone who has hurt their feelings .

15. Bughaw (Blue)

• Example Sentence: Ang kulay bughaw sa watawat ng Pilipinas ay sumisimbolo sa kapayapaan at katarungan . (The blue color in the Philippine flag stands for peace and justice.)

One of the most common mistakes that even locals commit is referring to the color blue as ‘ asul.’ The word ‘asul ‘ is not the Tagalog translation of blue because it is a Spanish word. The correct translation is ‘bughaw’ . It is one of the most significant colors for Filipinos. It’s in the Philippine flag and also mentioned in the Philippine National Anthem.

16. Gigil (Overwhelming Urge To Squeeze)

• Example Sentence: Nanggigil ako sa bagong aso namin. (I can’t stop myself from squeezing our new dog.)

Have you seen a baby so cute that you want to pinch its cheeks? This is what ‘ gigil ‘ feels like. It is an intense desire to squeeze something. It can also be an uncontrollable urge to touch someone caused by overwhelming emotions like admiration and anger.

For example, your mom is really angry with you for talking back while she scolds you. Then she says, “ Nanggigigil ako sa’yo ,” which can mean, “I’m controlling myself not to lay hands on you right now.”

17. Muni-Muni/Magmuni-Muni (To Ponder/Meditate)

• Example Sentence: Umakyat ako ng bundok upang magmuni-muni tungkol sa mga bagay sa buhay. (I climbed a mountain to meditate on the things in life.)

If things are getting overwhelming or you have to think about your decisions in life, you’ll meditate or ponder. In Tagalog, that’s what ‘ magmuni-muni ‘ means.

18. Alpas (To Break Loose/Free)

• Example Sentence: Nakaalpas na ako sa pagkakatali sa aking madilim na nakaraan. – (I have broken loose from being tied to my dark past.)

We tend to be overwhelmed with problems in life, and we want to escape or free ourselves from that situation. Filipinos use the word alpas in this situation, which can literally and figuratively mean becoming free or breaking loose.

People don’t use this word in casual conversations. You often hear them use ‘ laya/lumaya ‘. But ‘ laya ‘ generally refers to the state or condition of being free. It’s a broader term that can refer to various kinds of freedom, from physical to abstract. ‘

As for ‘ alpas ,’ it paints the image of doing everything you can to break loose. It symbolizes one’s effort to escape from a difficult situation. In some contexts, “ alpas ” can be synonymous with “ laya ,” but they convey different nuances of freedom.

19. Pagsamo (Pleading/Begging)

• Example Sentence: Sana’y pakinggan mo ang aking pagsamo. (I hope you listen to my pleading.)

‘Pagsamo’ or pleading is another level of asking for something. It is near to begging, where you are willing to give all of yourself. Filipinos do not use this in casual conversations. But you’ll often hear this in songs and movies, making everything better and more emotional.

20. Habilin (For Safekeeping/Bequest)

• Example Sentence: Inihabilin sa akin ng aking ina ang mga alahas na ito. (My mom entrusted these pieces of jewelry to me for safekeeping.)

‘Habilin ‘ is something that’s been provided to someone for safekeeping. It can be material things like money and jewelry. It can also be people, and it can also be a secret. When given a ‘ habilin ,’  you must do your best to protect and keep it safe.

21. Silakbo (Emotional Outburst)

• Example Sentence: Nagpadala ako sa silakbo ng aking puso at inamin kong mahal ko siya. (I gave in to an emotional outburst, and I confessed my love for him/her.)

When we become emotionally overwhelmed, we tend to have a sudden emotional outburst . Sometimes, we say things we don’t mean because of our emotions. In Tagalog, this is called ‘ silakbo ‘.

22. Siping (Lying Beside Intimately)

• Example Sentence: Natulog kami nang magkasiping . (We slept together side-by-side intimately.)

This Tagalog word is tricky because ‘ siping ‘ means to lie down beside, to place by the side, but it usually includes an intimate partner. If you want to indicate lying down beside, just use ‘ magkatabi’ ( lying side-by-side or next to each other ) because ‘siping’ is culturally understood to have intercourse.

23. Marahuyo (To Be Enchanted)

• Example Sentence: Baka marahuyo ang mga tao kay Pia Wurtzbach. (The people might be enchanted by Pia Wurtzbach’s beauty.)

Have you ever been enchanted by someone? It’s like they have taken you to another world, and it seems like you lost yourself because you’re completely enchanted. Filipinos call this ‘ marahuyo ‘ in Tagalog. Just think about Taylor Swift’s song entitled Enchanted.

24. Humaling (To Be Captivated/Enthralled)

• Example Sentence: Sa unang tingin, agad na na humaling sa nagniningning mong mga mata. (At first glance, I was immediately captivated by your glittering eyes.)

‘Humaling’ is an extreme fondness for something or someone. It gives you the feeling of being extremely captivated. It can also give you the feeling of being addicted to something, which makes you want to do it repeatedly.

25. Sapantaha (Hunch/Presumption)

• Example Sentence: Ang lahat ng mga sinabi ko ay pawang sapantaha lamang . (Everything that I said is based on a hunch only.)

‘Sapantaha’ is a hunch or presumption. It is a deeper word for ‘ hula ‘ or guess. You’ll seldom hear people saying it. But you’ll often see this in books and stories and hear it in movies and songs.

26. Pahimakas (Last Farewell)

• Example Sentence: Nagsagawa ng pahimakas ang mga mag-aaral sa kanilang guro. (The students bid their last farewell to their teacher.)

Learning this deep Tagalog word is the best way to end this list because ‘ pahimakas’ means the last farewell in Tagalog . It is seldom used in casual conversations, but it’s a popular title for closing parties in school.

How Do You Say Poetic In Tagalog?

Other Poetic Tagalog Words To Memorize

The Tagalog language is indeed a beautiful language to learn. Although most Filipinos nowadays know how to speak English, it is still important to keep the language alive. Luckily, most OPM writers and singers nowadays use these words in their lyrics. You might not hear most of these words often, but knowing about them wouldn’t hurt. Below are other beautiful and unique Filipino words that you might want to add to your vocabulary:

Have you ever thought of memorizing them in just one go? It maybe hard right? But, there’s an easier way to do it. Try learning through the Ling app now and discover more ways to learn a new language.

Frequently Asked Questions About Poetic Tagalog words

What are the most commonly used poetic tagalog words.

Here’s a list of words that Filipinos use when they want to sound poetic in Tagalog:

• Nakakapagdamdamin
• Nakakapagpabagabag

What Is The Meaning Of Sinag?

Sinag is a Tagalog word meaning the ray of light from the sun. It is also another Tagalog word for beacon or beam of light from an object.

For example:

How Do I Learn Poetic Tagalog Words On My Own?

To learn Poetic Tagalog words on your own, have a language learning app like Ling to guide you.

However, you must first have a reason to say poetic Tagalog words . It is an uncommon thing to speak deep or poetic words in general. So, if you’re learning this lesson for your Filipino exam or to impress someone you met, take time to memorize these words in this article.

Discover The Beauty Of The Filipino Language

These poetic Tagalog words are just a few reasons the Tagalog language is exciting to learn. But you can’t see its beauty when you don’t try to learn this language.

Given all the influences of foreign languages, learning Tagalog isn’t that hard at all. In fact, you can learn it in a fun, engaging, and meaningful way.

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Creative Writing in Filipino: Tips and Techniques

• by Amiel Pineda

To enhance your creative writing in Filipino, immerse yourself in Filipino literature and folklore to incorporate traditional metaphorical expressions, adding depth and authenticity to your storytelling . Embracing the unique imagery rooted in Filipino culture will enrich your creative writing and captivate your audience at a deeper level.

Key Takeaways

• Understanding essential storytelling elements like character development, conflict, and resolution is crucial in creative writing in Filipino.
• Creating relatable and engaging characters with strengths, weaknesses, and internal conflicts is important for a captivating narrative.
• Using descriptive language that appeals to the reader’s senses and paints a vivid picture in their mind helps immerse them in the story.
• Mastering dialogue techniques, including dialogue tags, body language, and language variations, adds authenticity and depth to character interactions.

Crafting Compelling Filipino Storylines

To craft compelling storylines, you must understand the essential elements, such as character development, conflict, and resolution, while creating relatable and engaging characters that emotionally connect with readers.

When taking creative writing courses, honing your writing skills is crucial. Start by developing characters with depth and complexity. Make them relatable by giving them strengths, weaknesses, and internal conflicts.

The conflict is the engine that drives your story forward, so ensure it’s strong and gripping, keeping readers invested. Use effective pacing and tension-building techniques to maintain the momentum of the storyline, making it hard for readers to put your work down.

Developing Believable Characters

Craft believable and compelling characters by creating complexity and depth through their personalities, backgrounds, and motivations. Give your characters depth by exploring their strengths, weaknesses, fears, and desires.

Ensure consistency in their actions, reactions, and decisions to make them relatable and authentic.

Show the internal and external conflicts your characters face, allowing readers to connect with their struggles and growth. Use vivid and specific details to bring your characters to life, making them memorable and engaging for your audience.

Crafting believable characters requires thoughtfulness and attention to detail in their development, allowing them to resonate with readers and enrich your creative writing.

Using Descriptive Filipino Language

As you bring your characters to life through vivid details and authentic complexities, using descriptive language becomes a powerful tool to immerse your readers in the rich sensory experience of your storytelling.

To create compelling descriptions, remember to use sensory details that paint a vivid picture in the reader’s mind. Employ strong and precise language to convey emotions and atmosphere effectively. Incorporate similes and metaphors to make descriptions more evocative and engaging.

Appeal to the reader’s senses by describing sights, sounds, smells, tastes, and textures, allowing them to fully immerse themselves in your narrative.

Mastering Dialogue Techniques

How can dialogue enhance your characters and advance your plot in creative writing? Mastering dialogue techniques is essential for developing compelling characters and propelling your narrative forward.

Effective dialogue not only reveals your characters’ personalities, emotions, and motivations but also drives the story’s momentum.

By mastering dialogue, you can imbue your characters with distinct voices and create authentic interactions that resonate with your readers. Check out the table below for practical tips on mastering dialogue techniques:

Creating Emotional Impact

To create emotional impact in your writing, start by evoking raw emotions and using sensory details to immerse your readers in the story.

Develop characters with depth and relatability to evoke empathy and emotional connection from your audience.

Utilize conflict and tension to amplify emotional impact and leave a lasting impression on your readers.

Evoking Raw Emotions

Creating emotional impact in your writing requires a skillful use of descriptive language and personal experiences to evoke intense emotions in your readers.

To effectively evoke raw emotions in your creative writing, consider the following tips:

• Provide a brief description of your experience or emotion that can deeply resonate with the reader.
• Use words and imagery with profound emotional significance to effectively convey the emotions in your text.
• Reference personal experiences or situations that can elicit strong emotions in the reader.
• Employ vivid descriptions and language to effectively highlight the intensity of the emotions you aim to convey.

Using Sensory Details

Building on the intense emotional resonance you’ve just created, infuse your writing with sensory details to immerse your readers in the depth of these emotions. Utilize vivid descriptions that appeal to the senses of sight, sound, touch, taste, and smell.

Paint a picture with your words, allowing your readers to see the vibrant colors, hear the melodic sounds, feel the textures, taste the flavors, and smell the aromas.

For example, instead of simply stating that the character felt sad, describe the heavy, oppressive feeling in the air, the sound of muffled sobs, the salty taste of tears, and the sight of blurred, watery vision.

Incorporating Filipino Cultural Elements

When writing creatively, consider incorporating Filipino cultural elements to add depth and authenticity to your work.

Symbolism in culture, traditional folklore influence, and the use of language and idioms are powerful tools that can enrich your storytelling and connect with your audience on a deeper level.

Symbolism in Culture

Incorporating Filipino cultural elements in creative writing adds depth and richness to the symbolism in the narratives. It allows you to infuse your writing with layers of meaning that resonate with Filipino experiences and traditions .

When incorporating symbolism in Filipino culture, consider these key elements:

• Traditional Filipino Symbols : Integrate symbols such as the sarimanok, sampaguita, or bayanihan to convey deeper cultural meanings.
• Historical Events : Explore symbols related to significant historical events like the People Power Revolution or the struggle for independence from colonial powers.
• Indigenous Beliefs : Incorporate symbols from indigenous belief systems such as the anito or the babaylan to depict spiritual and cultural aspects.
• Regional Diversity : Highlight symbols specific to different regions in the Philippines to showcase the country’s diverse cultural tapestry.

Traditional Folklore Influence

Incorporate Filipino cultural elements into your creative writing to infuse your narratives with the rich myths, legends, and tales passed down through generations, reflecting the beliefs, values, and experiences of Filipino culture.

Traditional folklore in the Philippines, with its mythical creatures like the aswang, kapre, and tikbalang, as well as creation stories and folk heroes, serves as a wellspring of inspiration for creative writing. By integrating these elements, you can authentically capture the essence of Filipino culture in your narratives.

This not only preserves cultural heritage but also offers a captivating storytelling experience that resonates with Filipino audiences.

Through the incorporation of Filipino cultural elements, your creative writing can celebrate the richness of tradition, fostering a deeper connection with readers and honoring the diversity of Filipino storytelling.

Embrace these traditional influences to create narratives that truly embody the spirit of Filipino folklore.

Language and Idioms

To authentically capture the essence of Filipino culture in your creative writing, infuse your narratives with the rich language and idioms that reflect the beliefs, values, and experiences passed down through generations.

Incorporating Filipino cultural elements in your writing can create a deeper connection with your audience and evoke a sense of belonging.

Here are some ways to incorporate language and idioms into your creative writing:

• Utilize Filipino idiomatic expressions to add depth and authenticity to your characters’ dialogues.
• Integrate traditional Filipino words and phrases to imbue your writing with a distinct cultural flavor.
• Embrace the nuances of Filipino language and dialects to portray the diversity of Filipino culture.
• Weave in proverbs and sayings that encapsulate the wisdom and worldview of Filipino heritage.

Balancing Style and Substance

How can you effectively balance style and substance in your creative writing to capture and maintain your readers’ interest?

Balancing style and substance in your creative writing is essential for engaging your audience. By incorporating the right techniques, you can ensure that your writing is both captivating and meaningful. Consider the following tips to achieve this balance:

Enhancing Imaginative Settings

Enhancing imaginative settings in your creative writing immerses readers into vibrant worlds, creating a captivating and vivid experience. To effectively enhance imaginative settings in your creative writing, consider the following:

• Utilize descriptive language to engage the reader’s senses and paint a detailed picture of the setting, capturing its atmosphere, sounds, smells, and overall ambiance.
• Incorporate unique and imaginative elements to make the setting memorable and immersive, infusing it with creativity and originality.
• Ensure the setting complements the story’s tone, themes, and characters, enhancing the overall storytelling experience.
• Experiment with different settings and combinations, exploring diverse landscapes, time periods, and cultural influences to create rich and dynamic literary worlds.

Harnessing the Power of Symbolism

Engage your readers with layers of meaning and evoke powerful emotional responses by harnessing the power of symbolism in your creative writing.

Symbols serve as vehicles for universal truths and themes, infusing your narrative with depth and resonance. They create a tapestry of meaning, inviting readers to explore beyond the surface of your story.

When used effectively, symbolism enhances reader engagement and understanding, drawing them into a rich and immersive literary experience.

To wield the full potential of symbolism in creative writing, it’s crucial to grasp the cultural and historical context behind the symbols you employ. By doing so, you imbue your work with authenticity and relevance, resonating with readers on a profound level.

Embrace the art of symbolism to infuse your creative writing with layers of significance and emotional impact.

Embracing Creative Writing Exercises

Embracing creative writing exercises can invigorate your creativity and hone your storytelling skills in an enjoyable and fulfilling manner.

To enhance your creative writing and writing skills, consider the following exercises:

• Freewriting : Set a timer and write continuously without censoring or editing.
• Character Development : Create in-depth backstories and personalities for your characters.
• Writing Prompts : Use prompts to spark new ideas and overcome writer’s block.
• Genre Exploration : Experiment with different genres to expand your writing repertoire.

How Can I Incorporate Filipino Metaphors into my Creative Writing in Filipino?

To incorporate Filipino culture and metaphorical expressions into your creative writing in Filipino, immerse yourself in Filipino literature and folklore. Explore the rich tapestry of Filipino myths, legends, and folktales to find inspiration for incorporating traditional metaphorical expressions into your storytelling.

Embracing the unique imagery rooted in Filipino culture will add depth and authenticity to your creative writing.

Frequently Asked Questions

What is the filipino writing style.

The Filipino writing style combines aesthetics and politics, calling for a revision of traditional pedagogy. It encompasses diverse literary forms and embraces the destabilization of long-held creative practices.

What Is the Technique of Creative Writing?

You captivate readers by developing a distinctive style, understanding their preferences, and engaging them from the start. Reading others’ work in your niche enhances your writing. Be aware of AI’s impact on the industry.

What Is the Writing System in the Philippines?

The writing system in the Philippines is a blend of indigenous scripts like Baybayin and the Latin alphabet from Spanish influence. It also includes regional scripts reflecting the country’s linguistic diversity.

How Do You Write Filipino Language?

To write in Filipino, use the Filipino alphabet and follow the rules of grammar and syntax. Practice regularly and read Filipino literature to improve your writing skills. Engage with the language and seek feedback for improvement.

In conclusion, mastering the art of creative writing in Filipino requires dedication, immersion in literature, and a deep understanding of the language.

By exploring different techniques, experimenting with styles, and embracing the cultural and historical contexts of the Philippines, writers can craft powerful and engaging narratives.

With practice and creativity, writers can create compelling storylines, believable characters, and imaginative settings that resonate with readers.

Keep honing your skills and embracing the beauty of Filipino language and literature .

Teacher Elena

It's not just a job, it's an adventure.

Literary Forms in the Philippines: From Pre-Colonial to Contemporary Period

What are the literary forms in the Philippines? Philippine literature’s diversity and richness evolved side by side with the country’s history. This can best be appreciated in the context of the country’s pre-colonial cultural traditions and the socio-political histories of its colonial and contemporary traditions.

The average Filipino’s unfamiliarity with his indigenous literature was largely due to what had been impressed upon him: that his country was “discovered” and, hence, Philippine “history” started only in 1521.

The colonialists’ efforts to erase the memory of the country’s largely oral past were so successful that present-day Filipino writers, artists, and journalists are trying to correct this inequity by recognizing the country’s wealth of ethnic traditions and disseminating them in schools and the mass media.

The rousing of nationalistic pride in the 1960s and 1970s also helped bring about this change of attitude among a new breed of Filipinos concerned about the “Filipino identity.”

Pre-Colonial Times

Owing to the works of our own archaeologists, ethnologists, and anthropologists, we are able to know more and better judge information about our pre-colonial times set against a bulk of material about early Filipinos as recorded by Spanish, Chinese, Arabic, and other chroniclers of the past.

Pre-colonial inhabitants of our islands showcase a rich past through their folk speeches, folk songs, folk narratives and indigenous rituals, and mimetic dances that affirm our ties with our Southeast Asian neighbors.

The most seminal of these folk speeches is the riddle which is tigmo in Cebuano, bugtong in Tagalog, paktakon in Ilongo and patototdon in Bicol.

Central to the riddle is the talinghaga or metaphor because it “reveals subtle resemblances between two unlike objects,” and one’s power of observation and wit are put to the test.

While some riddles are ingenious, others verge on the obscene or are sex-related. Gaddang is one example of this.

Gongonan nu usin y amam (If you pull your daddy’s penis)

Maggirawa pay sila y inam, ( Your mommy’s vagina, too,)

( Campana ) screams. (Bell)

The proverbs or aphorisms express norms or codes of behavior and community beliefs, or they instill values by offering nuggets of wisdom in short, rhyming verses.

The extended form, tanaga , a mono-riming heptasyllabic quatrain expressing insights and lessons on life is “more emotionally charged than the terse proverb and thus has affinities with the folk lyric.”

Some examples are the basahanon or extended didactic sayings from Bukidnon and the daraida and daragilon from Panay.

3. Folk Song

The folk song is a form of folk lyric that expresses the hopes and aspirations, the people’s lifestyles, and their loves. These are often repetitive and sonorous, didactic and naive, as in the children’s songs or Ida-ida (Maguindanao), tulang pambata (Tagalog) or cansiones para abbing (Ibanag).

A few examples are the lullabies or Ili-ili (Ilongo); love songs like the panawagon and balitao (Ilongo); harana or serenade (Cebuano); the bayok (Maranao); the seven-syllable per line poem, ambahan of the Mangyans that are about human relationships, social entertainment and also serve as a tool for teaching the young; work songs that depict the livelihood of the people often sung to go with the movement of workers such as the kalusan (Ivatan), soliranin (Tagalog rowing song) or the mambayu , a Kalinga rice-pounding song; the verbal jousts/games like the duplo popular during wakes.

Other folk songs are the drinking songs sung during carousals like the tagay (Cebuano and Waray); dirges and lamentations extolling the deeds of the dead like the kanogon (Cebuano) or the Annako (Bontoc).

A type of narrative song or kissa among the Tausug of Mindanao, the parang sabil , uses the exploits of historical and legendary heroes as its subject matter. It tells of a Muslim hero who seeks death at the hands of non-Muslims.

4. Folk Narratives

The folk narratives, i.e., epics and folk tales, are varied, exotic, and magical. They explain how the world was created, how certain animals possess certain characteristics, why some places have waterfalls, volcanoes, mountains, flora or fauna, and, in the case of legends, an explanation of the origins of things. Fables are about animals, and these teach moral lessons.

Our country’s epics are considered ethno-epics because, unlike, say, Germany’s Niebelunginlied, our epics are not national, for they are “histories” of varied groups that consider themselves “nations.”

The epics come in various names: Guman (Subanon), Darangen (Maranao), Hudhud (Ifugao), and Ulahingan (Manobo). These epics revolve around supernatural events or heroic deeds, and they embody or validate the beliefs, customs, and ideals of a community.

These are sung or chanted to the accompaniment of indigenous musical instruments and dancing performed during harvests, weddings, or funerals by chanters.

The chanters who were taught by their ancestors are considered “treasures” and/or repositories of wisdom in their communities. Examples of these epics are the Lam-ang (Ilocano); Hinilawod (Sulod); Kudaman (Palawan); Darangen (Maranao); Ulahingan (Livunganen-Arumanen Manobo); Mangovayt Buhong na Langit (The Maiden of the Buhong Sky from Tuwaang–Manobo); Ag Tobig neg Keboklagan (Subanon); and Tudbulol (T’boli).

The Spanish Colonial Tradition

While it is true that Spain subjugated the Philippines for more mundane reasons, this former European power contributed much to the shaping and recording of our literature.

Religion and institutions that represented European civilization enriched the languages in the lowlands and introduced theater, which we would come to know as komedya, the sinakulo, the sarswela, the playlets, and the drama.

Spain also brought to the country, though at a much later time, liberal ideas and an internationalism that influenced our own Filipino intellectuals and writers for them to understand the meanings of “liberty and freedom.”

Literature in this period may be classified as religious prose and poetry and secular prose and poetry.

1. Religious Prose and Poetry

Religious lyrics written by ladino poets or those versed in both Spanish and Tagalog were included in the early catechism and were used to teach Filipinos the Spanish language.

Fernando Bagonbanta’s “ Salamat nang walang hanga/gracias de sin sempiternas ” (Unending thanks) is a fine example that is found in the Memorial de la vida cristiana en lengua tagala (Guidelines for the Christian life in the Tagalog language) published in 1605.

Another form of religious lyrics is the meditative verses like the dalit appended to novenas and catechisms. It has no fixed meter nor rhyme scheme, although a number is written in octosyllabic quatrains and has a solemn tone and spiritual subject matter.

But among the religious poetry of the day, it is the pasyon in octosyllabic quintillas that became entrenched in the Filipino’s commemoration of Christ’s agony and resurrection at Calvary.

Gaspar Aquino de Belen’s “ Ang Mahal na Passion ni Jesu Christong Panginoon natin na tola ” (Holy Passion of Our Lord Jesus Christ in Verse) put out in 1704 is the country’s earliest known pasyon .

Other known pasyons chanted during the Lenten season are in Ilocano, Pangasinan, Ibanag, Cebuano, Bicol, Ilongo and Waray.

Aside from religious poetry, there were various kinds of prose narratives written to prescribe proper decorum. Like the pasyon , these prose narratives were also used for proselytization.

Some forms are: dialogo (dialogue), Manual de Urbanidad (conduct book); ejemplo (exemplum) and tratado (tratado). The most well-known are Modesto de Castro’s “ Pagsusulatan ng Dalawang Binibini na si Urbana at si Feliza ” (Correspondence between the Two Maidens Urbana and Feliza) in 1864 and Joaquin Tuason’s “ Ang Bagong Robinson ” (The New Robinson) in 1879, an adaptation of Daniel Defoe’s novel.

2. Secular Prose and Poetry

Secular works appeared alongside historical and economic changes, the emergence of an opulent class, and the middle class who could avail of European education. This Filipino elite could now read printed works that used to be the exclusive domain of the missionaries.

The most notable of the secular lyrics followed the conventions of a romantic tradition: the languishing but loyal lover, the elusive, often heartless beloved, the rival.

The leading poets were Jose Corazon de Jesus( Huseng Sisiw ) and Francisco Balagtas. Some secular poets who wrote in this same tradition were Leona Florentino, Jacinto Kawili, Isabelo de los Reyes, and Rafael Gandioco.

Awit and Korido

Other popular secular poetry is the metrical romance, the awit , and korido in Tagalog.

The awit is set in dodecasyllabic quatrains while the korido is in octosyllabic quatrains. These are colorful tales of chivalry from European sources made for singing and chanting, such as Gonzalo de Cordoba (Gonzalo of Cordoba) and Ibong Adarna (Adarna Bird).

There are numerous metrical romances in Tagalog, Bicol, Ilongo, Pampango, Ilocano, and in Pangasinan. The awit as a popular poetic genre reached new heights in Balagtas’ “Florante at Laura” (ca.1838-1861), the most famous of the country’s metrical romances.

The Start of Change in Philippine Literature

Again, the winds of change began to blow in the 19th-century Philippines.

Filipino intellectuals educated in Europe, called ilustrados , began to write about the downside of colonization.

This, coupled with the simmering calls for reforms by the masses, gathered a formidable force of writers like Jose Rizal, Marcelo H. del Pilar, Mariano Ponce, Emilio Jacinto, and Andres Bonifacio.

This led to the formation of the Propaganda Movement, where prose works such as the political essays and Rizal’s two political novels, Noli Me Tangere and the El filibusterismo helped usher in the Philippine revolution resulting in the downfall of the Spanish regime and, at the same time planted the seeds of national consciousness among Filipinos.

However, if Rizal’s novels are political, the novel Ninay (1885) by Pedro Paterno is largely cultural and is considered the first Filipino novel. Although Paterno’s Ninay gave impetus to other novelists like Jesus Balmori and Antonio M. Abad to continue writing in Spanish, this did not flourish.

Other Filipino writers published essays and short fiction in Spanish in La Vanguardia, El Debate, Renacimiento Filipino, and Nueva Era.

The more notable essayists and fictionists were Claro M. Recto, Teodoro M. Kalaw, Epifanio de los Reyes, Vicente Sotto, Trinidad Pardo de Tavera, Rafael Palma, Enrique Laygo (Caretas or Masks, 1925) and Balmori who mastered the prosa romantica or romantic prose.

However, the introduction of English as a medium of instruction in the Philippines hastened the demise of Spanish so that by the 1930s, English writing had overtaken Spanish writing.

During the language’s death throes, however, writing in the romantic tradition, from the awit and korido, would continue in the novels of Magdalena Jalandoni. But patriotic writing continued under the new colonialists. These appeared in the vernacular poems and modern adaptations of works during the Spanish period and further maintained the Spanish tradition.

The American Colonial Period

A new set of colonizers brought about new changes in Philippine literature. New literary forms such as free verse [in poetry], the modern short story, and the critical essay were introduced.

American influence was deeply entrenched with the firm establishment of English as the medium of instruction in all schools and with literary modernism that highlighted the writer’s individuality and cultivated consciousness of craft, sometimes at the expense of social consciousness.

1. Free Verse

The poet and later National Artist for Literature, Jose Garcia Villa, used free verse and espoused the dictum, “Art for art’s sake,” to the chagrin of other writers more concerned with the utilitarian aspect of literature.

Another maverick in poetry who used free verse and talked about illicit love in her poetry was Angela Manalang Gloria, a woman poet described as ahead of her time. Despite the threat of censorship by the new dispensation, more writers turned up “seditious works,” and popular writing in the native languages bloomed through weekly outlets like Liwayway and Bisaya.

2. Modern Verses

The Balagtas tradition persisted until the poet Alejandro G. Abadilla advocated modernism in poetry. Abadilla later influenced young poets who wrote modern verses in the 1960s, such as Virgilio S. Almario, Pedro I. Ricarte, and Rolando S. Tinio.

3. Modern Short Story

While the early Filipino poets grappled with the verities of the new language, Filipinos seemed to have taken easily to the modern short story as published in the Philippines Free Press , the College Folio, and the Philippines Herald. Paz Marquez Benitez’s “Dead Stars,” published in 1925, was the first successful short story in English written by a Filipino. Later on, Arturo B. Rotor and Manuel E. Arguilla showed exceptional skills with the short story.

4. Dali or Pasingaw

Alongside this development, writers in the vernaculars continued to write in the provinces. Others like Lope K. Santos, Valeriano Hernandez Peña, and Patricio Mariano were writing minimal narratives similar to the early Tagalog short fiction called dali or pasingaw (sketch).

The romantic tradition was fused with American pop culture or European influences in the adaptations of Edgar Rice Burroughs’ Tarzan by F. P. Boquecosa, who also penned Ang Palad ni Pepe after Charles Dicken’s David Copperfield even as the realist tradition was kept alive in the novels by Lope K. Santos and Faustino Aguilar, among others.

It should be noted that if there was a dearth of Filipino novels in English, novels in the vernaculars continued to be written and serialized in weekly magazines like Liwayway, Bisaya, Hiligaynon, and Bannawag.

5. Modern Essays

Essays in English have become a potent medium from the 1920s to the present.

Some leading essayists were journalists like Carlos P. Romulo, Jorge Bocobo, Pura Santillan Castrence, etc., who wrote formal to humorous to informal essays for the delectation by Filipinos.

Among those who wrote criticism developed during the American period were Ignacio Manlapaz, Leopoldo Yabes, and I.V. Mallari. However, it was Salvador P. Lopez’s criticism that grabbed attention when he won the Commonwealth Literary Award for the essay in 1940 with his “Literature and Society.” This essay posited that art must have substance and that Villa’s adherence to “Art for Art’s Sake” is decadent.

6. New Criticism

The last throes of American colonialism saw the flourishing of Philippine literature in English at the same time, with the introduction of the New Critical aesthetics, which made writers pay close attention to craft and “indirectly engendered a disparaging attitude” towards vernacular writings — a tension that would recur in the contemporary period.

The Contemporary Period

The flowering of Philippine literature in various languages continues, especially with the appearance of new publications after the Martial Law years and the resurgence of committed literature in the 1960s and the 1970s.

Filipino writers continue to write poetry, short stories, novellas, novels, and essays, whether these are social, committed, gender/ethnic related, or personal in intention or not. Of course, the Filipino writer has become more conscious of his art with the proliferation of writers’ workshops here and abroad and the bulk of literature available to him via the mass media, including the Internet.

The various literary awards, such as the Don Carlos Palanca Memorial Awards for Literature, the Philippines Free Press, Philippine Graphic, Home Life, and Panorama literary awards, encourage him to compete with his peers and hope that his creative efforts will be rewarded in the long run.

With the new requirement by the Commission on Higher Education for the teaching of Philippine Literature in all tertiary schools in the country emphasizing the teaching of the vernacular literature or literature of the regions, the audience for Filipino writers is virtually assured. Perhaps national literature will find its niche among the literature of the world and will not be far behind.

This handout can be accessed from its original site, cited below:

www.seasite.niu.edu/Tagalog/Literature/literary_forms_in_philippine_lit.htm

If you’re looking for more resources about  literature , then make sure to browse my  website .

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Kathang Pinoy

Filipino in thoughts and words.

Famous Essays and Speeches by Filipinos

• My Husband's Roommate
• Where is the Patis?
• I Am A Filipino
• This I Believe
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part I
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part II
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part III
• The Philippines A Century Hence by José Rizal  (Translated by Charles E. Derbyshire) Part IV
• The Indolence of the Filipinos by José Rizal  (Translated by Charles E. Derbyshire)
• The Filipino Is Worth Dying For
• 1983 Arrival Speech of Ninoy Aquino

TAGALOG LANG

Learn Tagalog online!

Dahil Sa Iyo (Because of You)

This is one of the most well-known love songs in the Philippines. A favorite of Imelda Marcos, this song was the one she always performed for an audience. Mike Velarde composed the song in 1938. Lyrics are by Dominador Santiago.

The singer heard in this recording is Nora Aunor.

SONG LYRICS IN TAGALOG

Dahil sa iyo, nais kong mabuhay Because of you, I want to live

Tanging ikaw sinta ang aking pag-asa You alone, my love, are my hope

Ako’y lumigaya I became happy

Ang lahat ng ito’y dahil sa iyo All this is because of you

2 thoughts on “Dahil Sa Iyo (Because of You)”

Dahil Sa Iyo (because of you)

all my life i’ve suffered the hardship and the torment of one heart that is loving yet there’s no sign of heaven

now i’m feeling joyful you saved me from my anguish it’s only you, my love you’re my hope and my wish

because of you i yearn for existence because of you ’til my life will end

i hope you realize there’s no one else i long for just simply ask my heart it’s you forever more

because of you i am full of gladness and this my love, i will offer you

to show that i’m sincere i’ll be a slave for you everything in life is dear because of you

Hi, is there a full translation of the lyrics available?

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